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16th & 17th Cent Baroque Painters, 1996.
Major works, themes & styles of Judith Leyster, Lucas van Leyden, Quentin Metsys & others, focusing on moralistic depictions of brothels & prostitution.
2,250 words (approx. 9.0 pages), 8 sources, $ 79.95
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From the Paper
"The Baroque era in art was a manifestation of seventeenth-century life. It was expressed in different ways in different regions. The Baroque was the child of the Renaissance and was in part the result of a religious crisis brought about by the Renaissance emphasis on beauty and humanity:
It did not raise hopes of eternity nor promise everlasting glory to the poor to compensate for their earthly lot. The limitation of its message partly explains why the religious crisis came to a head, leading both to the birth of Protestantism and to the efforts of the Catholic Church to reorganize itself as the Council of Trent. Baroque. . . became the interpreter of the Catholic Church. . ."
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Cindy Sherman & Italian Baroque Painters, 1999.
Compares History Portrait Series (1989-1990) of American photographer with works by Caravaggio & Gentileschi of 16th Century. Anaylzes themes of style, content, artist as model, meaning, gender and human suffering.
3,150 words (approx. 12.6 pages), 6 sources, $ 111.95
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From the Paper
" This study will examine the relationship between the photography of Cindy Sherman, specifically a number of the works from her "History Portraits Series" of 1989-1990, and selected works of the Italian Baroque painters Michelangelo Merisi de Caravaggio and Artemisia Gentileschi of the late 16th and early 17th centuries. If one considers these three artists in terms of the evolution of a single vision, moving from Caravaggio through Gentileschi to Sherman, one can more easily see the relationships between and among their works. The thrust of this study will focus on such an evolution, from the traditional "masculine perception" (Garrard 4) of Caravaggio to the "special mixture of masculine and feminine elements" (Garrard 7) of Gentileschi to the radically humanist and subversive work of Sherman. Although Sherman, the focus of this study, expropriates the style and.."
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Absolutism in 17th Cent & 18th Cent, 1997.
Examines evolution, impact & decline of moral, philosophical & legal doctrine using natural law to justify monarchy.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
" Absolutism in the seventeenth and eighteenth centuries was a political theory suited to the absolutist monarchies which had been coming into existence since the Reformation. As a theory, perhaps best personified in the work of Hobbes, absolutism justifies the absolute and organic rule of all aspects of society through a monarchy. It is a doctrine of the absolute right of the ruler; in other words, the affirmation that the ruler is not bound by any kind of moral or legal limitation. Instead, the philosophy of absolutism rested heavily upon conceptions of natural law--an interpretation of right and wrong based on a belief in the absolute Truths inherent in nature. One of these absolute Truths of natural law would later become known as the ?divine right of kings,? a belief that the monarchy is the natural order of society and thus stands above all human.."
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Catholic Art in 16th & 17th Century, 1997.
Examines painters' veneration of saints to counteract the challenges from Reformers & Protestants, focusing on the role of the Jesuits.
2,925 words (approx. 11.7 pages), 10 sources, $ 103.95
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From the Paper
"In the course of nearly two centuries, a great number of artists from various countries worked in different styles to aid the cause of the Church. Despite this diversity, however, there was strong thematic continuity as the Church directly confronted the various challenges of the Reformers. Among the most interesting examples of these confrontations are works of art that celebrated the Church's saints--a practice condemned by the Reformers and, accordingly, reaffirmed by the Church and its artists. A review of several examples of this art demonstrates how the Church employed the depiction of saints to shore up its own popularity and influence and to confirm and spread its doctrines.
The visual arts were important tools of the Catholic Counter-Reformation of the sixteenth and seventeenth centuries..."
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History of England: Reformation (16th-17th century), 2000.
A look at the foundation for separation, looking back over three centuries preceding the reformation which led to the change.
2,116 words (approx. 8.5 pages), 7 sources, $ 66.95
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From the Paper
"English reformation is a perplexing issue, influenced by the continent, yet indigenous in its character. The multiplicity of issues makes it difficult to identify a single rationale, but one thing is certain, the Church of England?s constitution is domestic in its origin. The foundation for separation dates back to the period when the Roman?s empire was contracting in defense against barbarians from northern Europe. During that time, England had little contact with Rome and was left without influence from Rome for a number of years. "
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Sir Peter Paul Rubens, 1995.
This paper discusses the 17th Cent. Flemish Baroque painter Sir Peter Paul Rubens: Influences, style, themes, subjects, myths, religion and major works.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"Sir Peter Paul Rubens was a noted Flemish painter and designer and the most influential figure of Baroque art in northern Europe. He was born in 1577 and died in 1640. He began his career in Antwerp, and his masters were three fairly undistinguished painters of that city--Tobias Verhaecht, Adam van Noort, and Otto van Veen. The latter of the three had studied in Rome and could offer the young painter knowledge of the world outside Antwerp, and he did indeed infuse the young man with a desire to visit Italy, which he did in 1600. Little of Rubens's early work survives, and the style we know was formed largely in Italy, where he remained until 1608 and worked for Vincenzo Gonzaga, Duke of Mantua, who sent the young painter to most of the principal art centers of Italy to make copies for the ducal collection.. As was true of most painters of the Renaissance ... "
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Dutch Baroque Painting, 1996.
Social, moral & religious significance of portrayals of prostitution in 17th Cent. works of Cornelius Bega, Cornelius van Kittensteyn, Vermeer & others.
1,575 words (approx. 6.3 pages), 8 sources, $ 55.95
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From the Paper
"By the mid-seventeenth century, the style we have come to call Baroque was in full flower. The Baroque era in art was a manifestation of seventeenth-century life. It was expressed in different ways in different regions. The Baroque was the child of the Renaissance and was in part the result of a religious crisis brought about by the Renaissance emphasis on beauty and humanity:
It did not raise hopes of eternity nor promise everlasting glory to the poor to compensate for their earthly lot. The limitation of its message partly explains why the religious crisis came to a head, leading both to the birth of Protestantism and to the efforts of the Catholic Church to reorganize itself as the Council of Trent. Baroque. . . became the..."
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Baroque Art, 2006.
This paper compares two painters who used the Baroque style of art.
1,086 words (approx. 4.3 pages), 4 sources, APA, $ 37.95
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Abstract
The paper discusses how the Baroque style dominated art and architecture throughout Europe in the 1600s. The paper defines this style as having a dramatic use of light. The paper compares the works of Caravaggio and Rubens and concludes that while both painters have succeeded--in the Baroque style--at depicting a portion of the passion of Christ, they have differences. Caravaggio is more firmly planted in the style of his time, evoking strong emotion with relatively simple, if dramatic, depictions whilst Rubens decorates the scene more than transporting the viewer into the emotion of the event depicted.
Contents:
Introduction
Caravaggio and Rubens
Conclusion
From the Paper
"The Baroque style dominated art and architecture throughout Europe in the 1600s, lasting in some places until about 1750 (Encarta, database online). The origin of the word is not certain. Some believe it was derived from the Portuguese word barocco or the Spanish word barueco, a word that referred to an irregularly shaped pearl (Encarta database online.) It should be remembered that pearls, baroque or otherwise, were only brought to Europe during the age of exploration, which slightly preceded what came to be called the baroque period of art. Baroque--or irregularly shaped--pearls would have been looked upon as doubly exotic and very dramatic, so it is not difficult to imagine the term being applied to art that was increasingly dramatic, even if the subject matter was not; the baroque painters had an affinity for Biblical subjects."
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The Baroque Era, 2007.
An analysis of the key aspects of baroque era philosophy and painting styles.
986 words (approx. 3.9 pages), 1 source, MLA, $ 35.95
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Abstract
This paper examines the key aspects of baroque philosophy and painting, which became manifest during the 17th and 18th century. It describes the works of various artist from this period and examines how realism, a strong appeal for decoration and humanism are the key aspects of Baroque painting styles and philosophical discourse. The paper describes the key aspects of the painters and important thinkers of the baroque period as seen in their major works.
From the Paper
"In conclusion, the baroque era offers various styles of painting that are unified in their reality, details, and the most important aspect of the era: humanism. The underlying reality of life after the medieval period showed signs of the classical revival of Platonic thought and realness, which was previously dominated by the mythic sensibilities of the 16th century and earlier. These three aspects of baroque painting and history define the historical revival of classical thought in this period of European history."
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Baroque Architecture, 2002.
An overview of Baroque architecture and style with examples.
2,150 words (approx. 8.6 pages), 5 sources, $ 80.95
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Abstract
This paper looks at particular Baroque architectural works, and discusses the general characteristics of the style. This paper first sets out to explain what is Baroque? As well it sets the parameters for the study. The paper then looks at style, The Baroque City, St. Peter's Square, Intimate Baroque, and Chimerical Baroque.
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Baroque Art, 2004.
An analysis of Baroque art, including a comparison between Peter Paul Rubens and Caravaggio.
1,131 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper discusses the Baroque style of art that came about following the Renaissance period. The paper examines the artistic styles that made this period so unique. The paper introduces one of the most talented and gifted painters in Italy during this time, Michelangelo de Meris, also known as Caravaggio. The paper describes one of his most famous paintings, "The Madonna of Loreto" that reveals the true nature of the Baroque period. The paper also discusses the brilliant Flemish master Peter Paul Rubens who shared with his counterparts in Italy the desire to develop and spread the Baroque style.
Outline
Introduction
Caravaggio
The Madonna of Loreto
Peter Paul Rubens
The Journey of Marie de Medici
Helen Fourment and Her Children
From the Paper
"The artistic period known as the Renaissance continued without any sharp stylistic changes well into the 17th and 18th centuries; however, the art of this later period is often called Baroque, although there is no single Baroque style or set of stylistic ideals. Yet within the last one hundred years or so, Baroque has taken on the overall designation for the art of the period from circa 1600 to 1750. More recently, scholars have come to understand that Baroque styles were very different from those linked to the Renaissance. For example, during the Renaissance, art tended to be rather static, but during the Baroque, art became very dynamic and encompassed passion, opulence, a taste for the theatrical and introduced the virtuoso, being an artist that stood out from his contemporaries as a truly gifted genius."
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Baroque, 1999.
A general overview of the history of Baroque music.
1,019 words (approx. 4.1 pages), 4 sources, MLA, $ 36.95
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Abstract
This paper gives a history of the roots of Baroque music and how it evolved within the Baroque era between the years 1600 and 1750. The paper relates to various composers (such as Bach and Handel) who contributed to the Baroque period of classical music. The paper also shows how Baroque music influenced music as we know it today.
From the Paper
"Historically, Baroque music introduced embellished melodies, contrapuntal forms and harmonic complexity emphasizing instrumental and vocal contrasts. The Baroque era is generally stated as the time between years 1600 and 1750. The word ?Baroque? was derived from the French language and the Italian word ?barocco? meaning, ?bizarre?. It was originally used in reference to the architecture of cathedrals and other buildings at that time. These churches were more elaborate due to the emphasis placed on religion at the time as a result of the socio-political status of the church and state. At this time, the Catholic Church was in full reign over the land, and practically synonymous with the law and the monarchies. The people were devoted to their God and their home, and created such elaborate pieces as a tribute to both. As times progressed, the music changed as well. Baroque music was complexly composed to combine an array of harmonies and melodies that were not before explored in earlier works."
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Bernini and Baroque, 2005.
Examines the art of Gianlorenzo Bernini within the Baroque period.
1,853 words (approx. 7.4 pages), 2 sources, MLA, $ 59.95
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Abstract
Baroque is used as a period label, designating the era that falls approximately between 1600 and 1750 and describes the dominant style in art, music, drama, poetry, prose and life in general at that time. This paper examines the life and art career of Gianlorenzo Bernini, a famous sculpture and artist in 17th century Rome. The paper shows why Bernini's work is representative of the Baroque era.
From the Paper
"In 1644, at the age of 76, Pope Urban VIII died, leaving the Church almost bankrupt. Urban gave Bernini his grandest commissions, and thus it is not surprising that Bernini lavished so much care when he made Urban's tomb, which took him from 1628 to 1647. Urban's authority is symbolized by his position atop the tomb, dispensing benediction to the faithful. Beneath, he immortalizes Urban VIII by writing his name in gold letters on a scroll."
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Baroque and Rococo Art, 2006.
This paper compares and contrasts the stylistic and ideological content in Baroque and Rococo art.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
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Abstract
The paper explains that by examining the Baroque work of Carracci, Caravaggio and the contrasting work of Rococo artist, Antoine Watteau, one can see how they are compared and contrasted in art history. The paper discusses how the earlier Baroque style offered a painting technique which relied on dynamic chiaroscuro and color values, along with the greater emphasis on gigantism in the heroic poses offered by Caravaggio and Carracci. The paper notes that while the Baroque period lasted for nearly one hundred years, the changing climate of political and class based construct in painting veered into the pomp and circumstance of the French elite in the 18th century.
From the Paper
"This art study will compare and contrast the stylistics of Baroque and Rococo art. Although these two styles appear to be similar in their artistic painting techniques, the ideological content value of Baroque and Rococo art is very different. In many ways, Baroque will be examined for the humanistic and classical values in various paintings of this period. However, as art veered away from this strict Grecian content style, the highly dramatic and theatrically elitist "art for arts sake" arose within Rococo paintings. In essence, the initial classicism of Baroque art that sought deeper meaning in classical themes changed into a far more dramatic based on pomp and extravagance. The Baroque period is generally known to have begun in 1600 with major painters such as Caravaggio and Carracci creating classical styled paintings."
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Comparison of Renaissance vs Baroque Art, 2006.
A comparison of the Renaissance era with the Baroque era, focusing on the musical culture of both periods.
2,934 words (approx. 11.7 pages), 5 sources, MLA, $ 86.95
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Abstract
Renaissance and Baroque are no doubt the Golden Age in the history of humankind. The quantity of prominent figures in the both periods is innumerable. It is impossible to analyze even the minute part of their works in one short research. This research takes into consideration the major aspects of musical culture of the specified ages and focuses on finding differences between the two ages.
A) Introduction: Renaissance and Baroque
B) General Discussion
1) The Historical Background and Key Features of Renaissance
2) Baroque Age and its Characteristic Trends
3) Comparison of the Periods
4) The Great Composers of the Two Ages
C) Conclusion
From the Paper
"The art historian Giorgio Vasari first used the term ?Renaissance? in 1550. He used the word rinascita (Italian for rebirth) to describe the return of the ancient Roman manner of painting in the works of Giotto di Bondone. The word Renaissance acquired a wider meaning in the eighteenth century when Voltaire characterized the period between fourteenth and sixteenth centuries in Italy as the great age of human cultural achievement. In the nineteenth century, Jules Michelet and Jakob Burckhardt distinguished the era of Renaissance as a prominent historical period, which gave birth to the modern age. Everything started with the interest to antique culture of ancient Greece and Rome: imperishable beauty of ancient statues appeared before the eyes of the man after archeological digs, undertaken on the territory of Eternal city. The word "Renaissance" has to be understood in a wider meaning. It does not only describe the return of ancient culture, but it also symbolizes the unprecedented ascension of the literature, painting and architecture, as the golden age of human genius. Neither of the epochs produced such a great quantity of prominent figures in every sphere of culture. There are still no more notorious and respected painters, than Leonardo da Vinci, Rafael, Michelangelo. Fine arts depict the ideals of Renaissance most brilliantly. "
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