| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "17TH CENTURY DUTCH ART": |
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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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Dutch 17th Century Painting, 2002.
A look at the domestic heroine and the love-sick maiden in Dutch seventeenth century painting.
2,400 words (approx. 9.6 pages), 19 sources, $ 89.95
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Abstract
This ten-page undergraduate paper examines and analyzes images of the domestic heroine and the love-sick maiden in Dutch seventeenth century painting. Domesticity and female complaints are contrasted as they are presented in selected works by seventeenth century Dutch genre painters such as De Hooch, Steen, Maes, and Vermeer.
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Dutch Artists from the 15th to the 17th Century, 1994.
This paper discusses five landscapes painters (Jacob van Ruisdael, Jan Lievens, Salomon van Ruysdael, Jan van Goyen, and Aert van der Neer) from Baroque Era (15th -17th Century) in Netherlands: Cultural and historical influences, style, subjects, themes
4,275 words (approx. 17.1 pages), 12 sources, $ 135.95
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From the Paper
"This paper will discuss landscape scenes painted by Dutch artists during the Baroque Era, from the fifteenth to the seventeenth centuries. Special emphasis will be placed upon five painters of the seventeenth century, namely Jacob van Ruisdael, Jan Lievens, Salomon van Ruysdael, Jan van Goyen, and Aert van der Neer. A number of landscape paintings by these artists will be analyzed in detail. Landscapes were a popular subject for painters during the Baroque period. This paper will show that although landscape paintings of the period share many motifs and characteristics in common, the field of landscape painting was broad enough to enable individual artists to express their own unique styles and ideas despite any similarities of subject matter. In fact, individual self-expression in painting was of particular importance to Dutch artists in the seventeenth ... "
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Sexual Perspectives in Dutch Baroque Art, 2003.
Examines male vs. female depictions of an "indecent proposal".
1,510 words (approx. 6.0 pages), 10 sources, APA, $ 49.95
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Abstract
This paper examines the dramatically different way in which male and female artists portray the same act - an 'indecent proposal' of money for sexual favors. To facilitate the comparison, artists are all Dutch painters active in the 1600s. Judith Leyster's "The Proposition" is used as the key female illustration of an indecent proposal, while a number of her male contemporaries (Baburen, Honthorst, Molenaer, Ter Borch, Vermeer) are examined for the male perspective.
From the Paper
In 1893, during a cleaning of The Jolly Toper, a painting acquired by the Louvre as a Frans Hals, a curious discovery was made. In the lower corner of the work was the emblem "JLS?" - the monogram of the previously-unknown artist Judith Leyster (1609-1660) . Though highly regarded in her own 17th century Holland, Leyster's work had been essentially lost until this accidental discovery. Leyster shared the fate of many female artists, whose work is often lesser known and not as favorably regarded as that of their male contemporaries. Works within a genre made by male and female artists often demonstrate sharp differences in the way each sex portrays the subject matter. Comparing Judith Leyster's The Proposition with several other similar works by her male Dutch contemporaries readily illustrates this point.
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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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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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The Dutch Golden Age, 2008.
Looks at the economic and political factors, which underlay the rise and fall of the Dutch Golden Age during the 16th and 17th centuries.
2,405 words (approx. 9.6 pages), 14 sources, MLA, $ 73.95
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Abstract
This paper discusses the role of Holland in the world economy during the 16th and 17th centuries, as well as the internal and external forces that led to the Dutch Golden Age. The paper provides information regarding the general history of Holland as well as information regarding its economic history.
From the Paper
"Rising taxes also had an effect on trade. Other ports, such as the ports in Germany with lower trade tariffs, began to acquire some of the previously Amsterdam destined vessels, and the overwhelming Dutch control of the seas began to wane. The Dutch attempted to establish trade treaties with many of the surrounding countries, but when push came to shove many of the treaties that were signed were simply ignored, and more were not even signed in the first place."
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"The Reformation of the Sixteenth Century", 2005.
This paper reviews, in detail Roland H. Bainton's survey text "The Reformation of the Sixteenth Century" in which he presents its leaders, movements, creeds and historical settings.
3,520 words (approx. 14.1 pages), 0 sources, $ 98.95
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Abstract
This paper explains that Roland H. Bainton's in "The Reformation of the Sixteenth Century" examines the conditions which caused the irrevocable contravene between Luther and the Church and its consequence for 16th century Europe. The author points out the exceptional value of the forward section by Jaroslav Pelikan. The paper states that the book is well written, easy to understand and has many historical facts such as specific details about the Diet of Worms, the institution of the Holy Commonwealth of Geneva, Henry VIII's break with Rome and William the Silent's great effort for Dutch Freedom.
From the Paper
"The medieval church entered into a different phase and experienced a lot of changes in the 16th century. This change was due since the 15th century. The Pentecostal church is said to have been responsible to conserve the three great spiritual reforms, Lutheran, Wesleyan and Pentecostal. All these revival movements were helpful to bring back to light the various Christian experiences that had disappeared since the early times of the church. This reformation started with the Lutheran Reformation of the sixteenth century. Martin Luther became one of the most famous German Augustinians. In 1506, he joined the Augustinian community in the German town of Erfurt and he also took his first vows there."
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Art, Sex, and Freedom of Expression in Asian Art, 2008.
An analysis of sex and sexuality in contemporary Asian art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper explores the expressions of sex and sexuality in the contemporary art of three Asian nations: Japan, China, and South Korea. The paper also looks at public and critical reactions to such works of art, in order to gain insight into the role sex and sexual art play in Asian cultures. The paper then points out that to a Western viewer, images of sex in contemporary Asian art are often shocking in their explicitness or sheer strangeness. The paper explains that once we begin to understand the context in which it has emerged, the representation of sex in contemporary Asian art is analogous to our own in the Western world. The paper concludes that sex is clearly a universal area of interest for artists from all over the world. While some nations, such as the Japanese, are free to explore the subject in all its glorious, perverse, and occasionally horrific detail, other nations punish their artists for making the most minor transgressions.
From the Paper
"In Japanese art, what comes across as shocking to an American audience does not necessarily seem so to the Japanese themselves. This is because the Japanese do not carry the burden of Christian guilt, nor have they been influenced by the Puritan ideals that continue to surface in American discourse. Indeed, the Japanese have a much more open attitude towards sex than any other nation in Asia. Sex in art, however, is often used to challenge accepted modes of discourse in Japanese culture, and is thus considered to be a tool of dissent. This is particularly true for Japanese women artists who wish to challenge the Confucianist idea of women as submissive beings."
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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African Rock Art, 2008.
Looks at African rock art as true art.
1,545 words (approx. 6.2 pages), 9 sources, APA, $ 50.95
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Abstract
This paper argues that African rock art is both art and ethnographic records, created by hunter-gatherers, herders and later farming communities five or six thousand years B.C. The paper relates that rock art includes rock engravings (petroglyphs) and rock paintings (pictographs) depicting comparable themes and images but traditionally present a limited number of details and human figures. The paper describes the techniques used in creating the art and contends that African rock art is art because art is in the perception of an individual. The paper includes color pictures, map and graphs.
Table of Contents:
This is Art?
Ethnographic Records
This is Art
Rock Art Links
The Rock Art Research Institute's Perceptions
This is Art!
Complicated Pictures?
Perceptions
From the Paper
"Ethnographic records or rock art, created by hunter-gatherers, herders, and/or later farming communities, is displayed in the majority of Africa countries. Southern African rock-art, however, traditionally records experiences reflecting the belief systems and rituals of the indigenous people of their particular region. Although a minimum of 14,000 sites are currently on record, more exist, not yet formally recorded and projected to exceed 50,000 sites in the Southern African region."
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The Art of Kano Tanyu, 2002.
Explores the function of patronage and aesthetics in the art of 17th century Japanese artist Kano Tanyu.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This essay - discussing the life and art of Kano Tanyu (1602-1674) - will argue that Tanyu represents a classic example of the function of patronage in the production of art. In 17th century Japan the styles and subjects of art differed depending upon the class who were to be the designated audience for the art. The Kano family had tied its fortunes to the ruling Tokugawa clan from an early date; Tanyu's artist father having moved to Edo at the order of the shogun.
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Art as a Mirror of Society, 2008.
This paper examines two works of art, the "Venus of Willendorf," a prehistoric artifact, and Manet's "Paris" in order to discuss how humans define art and the meaning of art.
6,805 words (approx. 27.2 pages), 23 sources, APA, $ 154.95
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Abstract
This paper looks at how people view art. It states that when viewing any work of art, one immediately begins to make sense of the image in terms of how it relates to the world one knows, as well as what one has been taught about history. Not only does society seem to influence the ways in which art is produced - society is often reflected in the works of art itself. Along these lines, this paper aims to answer the question of whether or not people use ancient artifacts that pre-date written culture as a means of "reading" the society that existed during that era. In the case of ancient artifacts such as the "Venus of Willendorf," ultimately modern analysis can only guess by relating the piece's history to modern ideas of what gender might have signified to ancient prehistoric civilizations. However - in the case of Manet - people are able to get a better view of the ways that society and art impacted one another through the use of primary and secondary sources. In contrast between the Venus and Manet's pieces, it can be said that the relationship between art and society is in fact conditioned by a third factor, which is the main subject of this paper - that of history. Without all the written records of the 19th century that have been kept, people might have no way of knowing what they are looking at when they study a Manet painting. Furthermore, "works" - or, perhaps more aptly, artifacts - such as the Venus thus cause people to reconsider what the true definition of art is.
Outline:
The Venus of Willendorf: Women in the Stone Age
Manet's Paris
Women in Manet's Art
Conclusion
From the Paper
"Manet's painting was firmly rooted in Paris of the mid-19th century. It is thus not difficult for us to get a glimpse of what society was like in that time and place by looking at Manet's paintings. Looking at the Venus of Willendorf, however, does not tell us anything about the society that it is a relic of. It thus requires us to use our intellects and our imaginations in order to piece together an explanation that might satisfy us personally, but can never be held up as a firm example, as we can with Manet's paintings. Thus, it can be said that the relationship between art and society is in fact conditioned by a third factor, which has been the main subject of our inquiry - that of history. Without all the written records of the 19th century that have been kept, we might have no way of knowing what we are looking at when we study a Manet painting. This truth comes to the surface when we look at the Venus, which comes from a period that pre-dated all known forms of writing."
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