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Art for Special Needs Children, 2007.
A teacher's plan for using art in the classroom to enhance the development of special-needs students.
927 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
The author of this paper presents an overview of how she would use art in the classroom to enhance student development for children with special needs. The author includes the processes she would use to incorporate visual, auditory and physical strategies to enhance learning. The author specifically looks at students with attention deficit disorder and discusses how she would also encourage language skills in the students. The author concludes that utilizing art to enhance the learning development of special needs students will be an effective enrichment tool.
Outline:
Introduction
The Use of Visual, Auditory and Physical Strategies to Enhance Learning
Special Concerns for Children with Attention Deficit
Language Skills Enhancement Through the Use of Art
Conclusion
From the Paper
"The use of visual, auditory and physical strategies in adapting art for children with special needs can be accomplished in a variety of ways. By incorporating a variety of strategies, it will further enrich the student's learning experience. Art is awash in visual richness. To begin with, visual strategies will include verbally describing the materials, to the students, and how to use them, verbally cuing them for what they should be looking for. Materials and tools will be chosen that will visually encourage the children to manipulate the items."
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Crayola Crayons, 2007.
An examination of crayola crayons and a look at the impact they have on our lives.
1,552 words (approx. 6.2 pages), 6 sources, MLA, $ 50.95
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Abstract
This paper discusses how crayola crayons have been part and parcel of every American child's upbringing and that many memories have been formed as a result. It discusses the origins of these popular crayons and then looks at the impact they have had on education. It concludes that they have provided a medium that allowed us to express our artistic and mischievous side that will be handed down to our children and our children's children, creating more memories and legacies of carefree and fancy-free days of youth.
From the Paper
"Now that we've seen the birth, growth and continuing trend of how Crayola Crayons have been component personal and national awareness, we can again walk down memory lane and trace the evolution of the various colors of Crayola Crayons. As we've seen in 1903 the birth of the eight colors, 1949 saw the addition of 40 colors to the repertoire with the colors flesh, turquoise blue, melon, maroon, mahogany, maize, periwinkle or thistle added, just to name a few. There were 16 colors added in 1958 with aquamarine, blue gray, burnt orange, cadet blue copper, forest green, goldenrod, Indian red, lavender, mulberry, navy blue, plum, raw sienna, raw umber, sepia, and sky blue as part of the collection."
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The Henderson Multigenerational Center, 2007.
A description and analysis of the Henderson Multigenerational Center, in Henderson, Nevada.
848 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
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Abstract
The paper describes the Henderson Multigenerational Center, which is a recreational center that offers opportunities for exercise and game time, has a large aquatic complex with both indoor and outdoor pools and has a computer lab and an art gallery. The paper relates that the facility can be home to cultural events, lectures and courses as well as to sports leagues and teams. The paper notes that the recreational center can also be enjoyed by the physically and mentally challenged because its facilities were built with diversity in mind. The paper points out an environmental concern but concludes that the Multigenerational Center at Henderson is an inspiration for facility designers, planners and managers.
Outline:
Background of Facility
Description of Facility
Analysis of Facility
Analysis of Focus Area
Conclusion
From the Paper
"The Multigenerational Center is located in Henderson, Nevada, a city that John F. Kennedy called a "city of destiny" (cited on "City History"). Today, Henderson is the second-largest city in Nevada. Its motto is "A Place to Call Home," and the Henderson Multigenerational Center reflects the demographics of the growing family-oriented community. Built in 2002 by the Dekker Perich Holmes Sabatini architectural firm, the recreational center also includes a large aquatic complex with both indoor and outdoor pools. Combined with the aquatic complex the Henderson Multigenerational Center totals 84,120 square feet (Brown, 2006)."
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"The Raising of Lazarus", 2007.
An analysis of the details depicted in "The Raising of Lazarus," painted by Jacopo Tintoretto.
2,442 words (approx. 9.8 pages), 5 sources, MLA, $ 74.95
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Abstract
This paper discusses the oil painting "The Raising of Lazarus," by Venetian artist Jacopo Tintoretto. It begins by describing the life and training of Tintoretto and lists some of his most famous works. The paper then goes into detail about "The raising of Lazarus." It primarily discusses the scene depicted in the painting and the abundance of detail that exists in the picture.
From the Paper
"Tintoretto painted many Biblical scenes during his career. Each offered something to the audience that would take time to study. Each one of his famous canvases also showcased his skill as an artist. The Raising of Lazarus is no different. All of the elements that made Tintoretto a memorable name from the Venetian Renaissance appear in this piece. He uses the contrast of light and dark, a vivid and powerful use of color, and a dramatically rendered biblical scene. All of these are rendered in his signature style of strong brushstrokes and elegantly positioned figures. Truly, if audiences had only this work of Tintoretto to study, they could see everything that explained what made him a successful artist both in his day and in the study of art."
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New Genre Public Art and Social Policies, 2006.
A review of the history of new genre public art encompassing various social issues.
972 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper reviews and discusses new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper
"Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
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New Genre Public Art and Social Policies, 2006.
A review of the history of new genre of public art.
979 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper reviews and discusses a new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. According to the paper, the evolution of art began in the 1950s. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper
"Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
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Walter Benjamin, 2006.
A review of 'The Art of Work in Age of Mechanical Reproduction' by Walter Benjamin.
863 words (approx. 3.5 pages), 2 sources, MLA, $ 30.95
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Abstract
This paper takes a look at the article 'The Art of Work in Age of Mechanical Reproduction' by Walter Benjamin. According to the paper, the article has justified the usage of mechanical equipments for the means of production of art works. The essay then goes on to discuss the duplication of art pieces. According to the essay, the promotion and propagation of art pieces through duplication has been a critical issue, and an issue of contention.
Outline:
Introduction
Debate
Conclusion
From the Paper
"Benjamin argues that experience of cultural imagery has been under dramatic influence of lithography and photography. The notion of originality relates necessarily to the idea of authenticity and to the work's authority, but with the technological revolution the issues of authenticity and originality has become irrelevant. Mass reproduction creates copies that possess an independence from the original; they can transcend the spatial and visual limitations of the original's physical tangibility and susceptibility to temporal and material's transformation with age and deterioration. As the art work's substantive duration ceases to matter, the art object loses its authority or its aura, the "unique phenomenon of a distance, however close it may be" (Benjamin Walter)."
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The International Style of Art, 2007.
An examination of Marian H. Feldman's article, "Luxurious Forms: Redefining a Mediterranean 'International Style,' 1400-1200 BCE."
954 words (approx. 3.8 pages), 1 source, MLA, $ 33.95
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Abstract
In this paper, the writer discusses Marian H. Feldman's argument, in her article "Luxurious Forms: Redifining a Mediterranean 'International Style', 1400-1200 BCE", that during the Bronze Age, many Mediterranean civilizations created luxury items that resembled each other, and so displayed an 'international style'. The paper shows how Feldman attempts to break down and clearly define this international style by conducting extensive research into a variety of artifacts from the region and the time. The writer concludes with a personal assessment of the article.
From the Paper
"Ultimately, instead of attempting to find out where objects originated and who made them, Feldman is more interested in "why" they made them and what their iconic meanings might be. To go even further, she attempts to define the "cultural styles" of pieces, rather than a specific maker or workshop style. All of this is different because most art historians are concerned with who made a piece and where it probably originated, while Feldman is more interested in the style of the piece and why it was formed and decorated the way it was. Thus, her study is unique from many others."
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"Venus and Adonis", 2007.
An analysis of the style and technique of Titian in his painting, "Venus and Adonis."
1,490 words (approx. 6.0 pages), 5 sources, MLA, $ 49.95
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Abstract
This paper discusses Titian's painting, "Venus and Adonis." The paper discusses Titian's technique, including his choice of subject and use of color and medium and it describes his technique related to other European painters of that period. The paper concludes by suggesting that the story told in "Venus and Adonis" is a powerful one - timeless in its message and inspiring.
From the Paper
"It is for these reasons and others that Venus and Adonis is the subject of this paper. Titian's captivating painting style, mastery of technique, color, and movement, instantly attract the viewer to the artwork. The subject matter, too, is appealing and compelling. As it did centuries ago, it does today - it tells a story and imparts a lesson. Yet, Titian's work can be instructive eon a thousand different levels. The master's art speaks to the motions, and makes each of us think about what is happening on the canvas; what it means to each of us members of a society, and as individuals. We each react to it in a different way. The story told in Venus and Adonis is a powerful one, timeless in its message; inspiring and also terrifying. We all hope we never find ourselves in such a situation but hope we have the courage to act - perhaps like Venus to save her beloved, or perhaps like Adonis... only differently, that we might stay in the arms of Venus and live."
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'The Hunger Artist', 2006.
A review of Franz Kafka's 'The Hunger Artist'.
1,151 words (approx. 4.6 pages), 0 sources, MLA, $ 39.95
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Abstract
This paper takes a look at the 'The Hunger Artist' by Franz Kafka. According to the paper, 'The Hunger Artist' is an unforgettable story that recounts the pain and anguish of an artist who earns money through public fasting. The paper discusses how this mordant tale is highly symbolic in nature and signifies the rapid though subtle death of the artist and his art.
From the Paper
"The artist also shares a weird relationship with the public. This is an interesting point to understand. The artist is in love with his profession but his love is fleeting. It is not based on his true passion for his art but on the fact that it gives him public adulation and respect. He is craving for public's love and when that love is taken away, his passion for his art diminishes to the point that it becomes non-existent. Kafka is trying to explain that art never dies and the artist doesn't have to starve if he feeds on his passion. But if it is people's adulation that he is craving, he is always vulnerable. The conversation with the supervisor highlights this sickness. "
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Leon Tolstoy's "What is Art?", 2006.
This paper argues against Leon Tolstoy's conclusion in his famous book "What is Art?".
1,205 words (approx. 4.8 pages), 3 sources, APA, $ 41.95
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Abstract
This paper explains that Leon Tolstoy in "What is Art?" argues that
art is not the manifestation of an abstract and absolute idea, such as beauty, God or simply something created to give pleasure, as generally purported by most of the thinkers and philosophers, but rather is intimately connected with the religions and moral values of every age and of every people. The author points out that both art and religion can reveal a different, absolute reality; but it cannot be agreed that good art should strictly follow religious and moral values. The paper stresses that saying art is only supposed to express the religious idea of good denies the most important quality of art--- imagination. The paper includes several quotations.
From the Paper
"As you say it yourself, art can serve to unite people and to realize that brotherhood of man, just like religion, through its ideas of goodness and morality. But it is likewise obvious that good art can give an account of the varied human experience and if it speaks, as you say, of nudity, sexuality or adultery, it does nothing more than to relate about human passions or emotions. I think the subject of a certain piece of art should not be confused with its final purpose. And it is to be noticed that a piece of literature, for example, which is replete with "immoral" ideas can produce the same state of elevation of the soul, just like the one that praises moral or Christian virtue. I think the most important fact is that art can reveal the truth and it does this by means of an aesthetic revelation, no matter its particular nature."
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Favorite Toy of My Youth - Crayons!, 2007.
This paper examines Crayola Crayons and looks at the impact they have on our lives.
1,552 words (approx. 6.2 pages), 6 sources, MLA, $ 50.95
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Abstract
The writer of this article notes that Crayola crayons have been part and parcel of every American child's upbringing and that many memories have been formed as a result. The writer discusses the origins of these popular crayons. The writer then looks at the impact that Crayola Crayons has had on education. The writer concludes that Crayola Crayons have provided a medium that allowed us to express our artistic and mischievous side that will be handed down to our children and our children's children, creating more memories and legacies of carefree and fancy-free days of youth.
From the Paper
"Now that we've seen the birth, growth and continuing trend of how Crayola Crayons have been component personal and national awareness, we can again walk down memory lane and trace the evolution of the various colors of Crayola Crayons. As we've seen in 1903 the birth of the eight colors, 1949 saw the addition of 40 colors to the repertoire with the colors flesh, turquoise blue, melon, maroon, mahogany, maize, periwinkle or thistle added, just to name a few. There were 16 colors added in 1958 with aquamarine, blue gray, burnt orange, cadet blue copper, forest green, goldenrod, Indian red, lavender, mulberry, navy blue, plum, raw sienna, raw umber, sepia, and sky blue as part of the collection."
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Film Production, 2006.
A review of an article by Erwin Panofsky in the publication "Style and Medium in the Motion Pictures".
1,654 words (approx. 6.6 pages), 2 sources, MLA, $ 53.95
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Abstract
This paper takes a look at the article written by Erwin Panofsky in the publication, "Style and Medium in the Motion Pictures". According to the paper, Panofsky writes that filmmakers could achieve true art by using techniques to both create and comment on the meaning involved.
From the Paper
"In no way can this be seen as simply a recording of reality, for it is not reality at all. It cannot be described in theatrical terms, for the way the world changes in the film could never be duplicated on stage. The larger plot might be seen in theatrical terms, with the young man falsely accused and his girl friend learning the truth and clearing him, but the film is more than a simple statement of lot and makes full use of the unique elements in the form to make this a film in the full sense and true art rather than borrowed art."
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What Does "Beauty" Mean in Art Today?, 2006.
A discussion regarding the modern concept of beauty in art.
2,174 words (approx. 8.7 pages), 6 sources, APA, $ 67.95
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Abstract
This paper takes a look at how Kant defines the concept of beauty in art and how it relates to the art of today. According to the paper, when it comes to the modern concept of beauty in art, there is often a very thin line between beauty and the grotesque. The paper reviews various works of modern art, discussing the beauty of each piece.
From the Paper
"The painting represents a bird and a heart, each placed on halves of a paper. The thing that first draws the attention of the viewer is the strong nuance of red that dominates the painting. Indeed, even the two shapes (the bird and the heart) are not actually sketched out as a shape, but are defined by the contrast in color between the nuances of red. It is quite an impression and perhaps another approach towards the concept of modern beauty, insisting on suggestion and inspiration rather than on exactly drawing lines and representing shapes. Given the fact that the message of the painting is barely implied by the elements forming it, as by it is by the title, everything is left to the own introspection of the viewer. "
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Impersonal Art, 2007.
This paper examines the modernist views of T.S. Eliot on art and literature.
2,076 words (approx. 8.3 pages), 5 sources, APA, $ 65.95
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Abstract
The paper discusses how T.S. Eliot, Ezra Pound, William Butler Yeats and James Joyce were the promoters of new aesthetic concepts that made art into something impersonal and elitist, rather than the expression of personal emotions or experience. The paper conveys their theory that art is not primarily inspirational, but is created according to certain formal patterns. The paper explains that the formal patterns are indeed determined by emotion, but are not solely translating the emotion, instead they are recreating it in an impersonal or objective form.
From the Paper
"The modernist aesthetic theories that developed at the beginning of the twentieth century brought a whole new perspective upon art and literature. Eliot, Pound, Yeats and Joyce, among others, were the promoters of new aesthetic concepts that made art into something impersonal and elitist, rather than the expression of personal emotions or experience. A piece of art is born out of the sedimentation in the mind of the poet of multifarious life or thought experience, of the type that is not necessarily seen as significant by the common man who has never written poetry. In the same way, according to the modernist views, art became not only impersonal but also elitist and abstract, full of numberless erudite allusions. The new was to be built on tradition and the palimpsest technique became almost an indispensable tool for the modernist artist."
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