| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "AMERICAN ART": |
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Native American Art Review, 2002.
This paper analyzes the art review of a Native American art exhibit at the American Craft Museum.
982 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper discusses ?Changing Hands?, an art review of a major Native American art exhibit at the American Craft Museum by critic David Revere McFadden. It opens with an overview of the exhibit itself and its highlights. The review, and the critic?s ?authority? to report on the exhibit are then discussed. Finally, there is a commentary of the effect the critic?s piece has upon one?s desire to view the exhibit.
From the Paper
"Changing Hands, the exhibit features several art forms of Native America. The artists who have displayed their work have given examples of both traditional and more contemporary pieces ? for example a reconstructed earthenware vessel of the type that might have been used centuries ago for water or other liquids. The several art forms shown by the Changing Hands exhibit include wool rug and vegetable dye; gold bracelet work inlaid with larimar, lapis lazuli,sugulited, shell, coral, obsidian and opal; earthenware sculpture; an acrylic collage on wood; glass and copper vase; cottonwood root sculpture; leather beltwork of silver, coral, turquoise, and serpentine; coral necklace with gold and pearls; pendants of gold, wood, silver, coral, turquoise, opal, shell, and lapis lazuli; earthenware canteens and jugs; hinged silver buckles; earthenware tiles of sand, copper, and oil on a wooden panel; sand media on wood."
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American Art, 2008.
This paper analyzes the American paintings and sculpture exhibition at the Metropolitan Museum of Art.
875 words (approx. 3.5 pages), 3 sources, APA, $ 31.95
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Abstract
This art study examines the American paintings and sculpture exhibit at the Metropolitan Museum of Arts in New York City. The writer notes that the exhibit is formulated around a three-fold objective: portraits, landscapes and sculpture for early American history. The writer maintains that by examining one piece from each of these sections of the exhibit, there can be a diversified analysis of how the pieces are placed into the overall framework of the museum. The writer concludes that these American art exhibits represent a historical view of early American history and stylistics.
From the Paper
"The historical perspective of this painting is recreated in a fictional pose for Washington and his solders as they cross the Delaware to surprise their British and Hessian enemy. This was an important point during the revolutionary war in which Washington gained a growing national and international support for the cause for independence. This aspect of the exhibition directly relates to the patriotic symbolism of the gallery, as it is representative of a collection that define American historical context. The painting is 149 x 255 inches and is placed within one of the large gallery rooms. The need for this is accentuated not only in its size, but for the centrality of its importance for the historical forum that the Metropolitan Museum of art is presenting. This painting is properly placed in the overall architecture of the northeastern part of the Met, since it allows a wide range of visibility and composure for the viewers to understand the crucial place this painting holds in American art history."
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The Great Depression and American Art in the 1930s, 2003.
A discussion of Depression Era Art and its impact on the art world.
969 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
By 1933 at the peak of the Depression, nearly 25% of all Americans were unemployed. Under the leadership of President Franklin D. Roosevelt, the country struggled to recover from the recession that became known as The Great Depression. The paper explains that as part of his New Deal program, President Roosevelt enacted many domestic policies and projects to try to rebuild America. Several particular endeavors were designed to keep painters, sculptors, and photographers employed. Because of these projects, artists created many works throughout the Depression. The paper shows that while artist reaction to the New Deal was varied, the works of art that were created expressed individual attitudes about the Depression and left a lasting mark on American art. The paper includes several reproductions of works of art from the era.
From the Paper
"As America sank deeper into the Depression, artists quickly found themselves unemployed. Consequently, they questioned the effectiveness of a capitalist society. In comparing the United States to the Soviet Union, many of the artists came to believe that maybe a socialist system was a better option. They joined many left-winged organizations like the Artists? Union with the common goal of obtaining state-sponsored art initiatives. The group published its own journal, Art Front, which proved to be quite influential. Letters were sent to Public Works officials asserting, ?the State can eliminate once and for all the unfortunate dependence of American artists upon the caprice of private patronage? (Pohl 365)."
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Industrialization and American Art, 1999.
Examines the industrial revolution and its impact on American artists before and after the Civil War. Discusses themes, socioeconomic aspects, style and major artists.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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Abstract
"The industrial revolution took permanent hold in the United States around 1850 and its influence on American art is felt to the present day. But this influence was quite diffuse and ranged from direct responses to the changing nature of American society to the ability of new wealth to support styles of art that took little cognizance of anything as mundane as industry. In the second half of the nineteenth century America was transformed by its rise to immense power and wealth from a middling nation with limited influence to its twentieth-century position as a world leader. In domestic terms the growth of industry signaled the start of great waves of immigration that changed the ethnic makeup of the young country and it heightened the contrast between agrarian and urban economies.
From the Paper
"The industrial revolution took permanent hold in the United States around 1850 and its influence on American art is felt to the present day. But this influence was quite diffuse and ranged from direct responses to the changing nature of American society to the ability of new wealth to support styles of art that took little cognizance of anything as mundane as industry. In the second half of the nineteenth century America was transformed by its rise to immense power and wealth from a middling nation with limited influence to its twentieth-century position as a world leader. In domestic terms the growth of industry signaled the start of great waves of immigration that changed the ethnic makeup of the young country and it heightened the contrast between agrarian and urban economies that had been a source of conflict since the time of Jefferson. In international terms the ..."
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American Decorative Arts, 2006.
A history of the interest in Orientalism in America and its influence on the decorative arts.
2,464 words (approx. 9.9 pages), 10 sources, MLA, $ 75.95
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Abstract
This paper begins with a look at what sparked the great interest in Orientalism beginning with the 19th century and continuing until the 1930s. The paper also describes the influence that Orientalism had on American tastes in decorative arts and explains that this interest in Orientalism was no doubt encouraged by the opening of the Suez Canal which had the effect of providing artists with abundant and seductive new motifs for their work.
From the Paper
"Although Bonaparte had had the idea years earlier, it was in 1854 that the French diplomat, Ferdinand de Lesseps persuaded the Viceroy Said of Egypt to grant him the concession to cut a 100-mile long canal across the isthmus of the Suez. DeLesseps had cultivated the Viceroy Said even when the Viceroy was a young man and De Lesseps was the French ambassador to the Egyptian court" (African Business 2003, p. 64). "The creation of the Suez Canal captured the imagination of people around the world, and its opening in 1869 was a party to end all parties. As the champagne flowed, it was hailed as a symbol of progress that would serve to unite the world. You might even call it one of the first adventures in globalization-an infrastructure project designed to strengthen links between Europe, East Africa, the Middle East and the Orient" (African Business 2003, p. 64). In hindsight, of course, it did not work out as the great peace- and commerce-maker some may have had in mind."
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Art and The Young American Society, 2002.
Examines how the United States used art, sculpture and architecture to develop a new identity after the Revolution.
1,164 words (approx. 4.7 pages), 3 sources, MLA, $ 40.95
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Abstract
The success of the American Revolution meant that the former colonists had to take on the difficult job of building a new kind of nation, with a new style of government, based on ideas about freedoms and rights that had never been tried before. The young country wanted to draw on what was best from its European heritage, but also to distinguish itself from Britain's culture which had been the principal cultural model. The paper shows that in the first century, the United States formally and informally used painting, architecture, and sculpture to carry important messages about the nature of American society and to develop styles that were distinctively American. Examples of two works from each of these branches of the arts demonstrate the variety of ways in which the country's art presented American ideals, promoted American self-confidence and developed an American character.
The works discussed are: Gilbert Stuart's painting "Vaughan Portrait" (1795); Thomas Jefferson's architectural design of the Virginia State Capitol Building (1785-99); the statue "Justice" (1824) by sculptor William Rush; Hiram Powers' bust of General Andrew Jackson (1835); Robert Mills' Treasury Building (1836-42) and Albert Bierstadt's painting "The Oregon Trail" (1869).
From the Paper
"Almost as soon as the Revolution ended painters and engravers began to meet an overwhelming demand for portraits of George Washington and other leaders. In addition to being a major symbol of independence, Washington was also painted as the embodiment of "American virtue, restraint, courage, and strength--in short, of American republicanism" (Baigell 27). Gilbert Stuart, an American who trained in England, produced some of the finest and most popular versions in such paintings as George Washington or the Vaughan Portrait (1795). Stuart showed a rather "patrician and remote" Washington, partly because he trained in the aristocratic portrait tradition in England (Baigell 36). But, as Baigell notes, Stuart was a Federalist who did not approve of the growing popularity of Thomas Jefferson and his more democratic ideals. The Vaughan Portrait also reflects, therefore, "the mood of the Federalist hierarchy, fearful of runaway populism . . . and anxious to fix a national image in the minds of Americans to counter endemic localism" (Baigell 36-37)."
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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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Arts and Consumer Culture of African-Americans, 2004.
Study of the culture of African-Americans during the Progressive Era.
762 words (approx. 3.0 pages), 2 sources, APA, $ 27.95
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Abstract
This paper looks at the development of the African-American culture during the coming of the 20th century. More specifically, the paper discusses and analyzes the culture of consumerism and literature of the African-American sector during the Progressive Era.
From the Paper
"The consumerism of African Americans is illustrated by the increased consumption of manufactured goods and services offered in the commercial market. By buying these manufactured goods and services, African Americans perceive themselves as one with the white American society. By subsisting to materialism and hedonism, the black American sector sought to achieve an equal status, establish an egalitarian society in the country, where both white and black Americans co-exist peacefully. Unfortunately, this is just an ?idealistic? view of the consumer culture of African Americans, where material goods represent their ideals for a free and equal society."
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Hispanic American Cultural Diversity, 2005.
This paper explains that, since the early 1600s, Hispanic Americans have influenced many aspects of today's American culture such as art, religion and education.
2,320 words (approx. 9.3 pages), 5 sources, APA, $ 71.95
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Abstract
This paper relates that Hispanic Americans, also known as Latinos, are residents of the United States who can trace their ancestry to countries in the Western Hemisphere where the Spanish language is spoken. The author points out that the Hispanic American community is a mix of subgroups with roots in various countries of Latin America, such as Mexico, Cuba, Puerto Rico, the Dominican Republic, El Salvador, Nicaragua, Colombia, Ecuador, Peru and Panama; many Hispanic Americans are uncomfortable with the term Hispanic American and prefer more specific designations, such as Cuban American or Mexican American, which more clearly reflect their community organization. The paper relates that almost every city in the United States has a Mexican, Cuban or other Spanish oriented restaurants from the corner "Taco Bells" to fancy sit-down cafes; Hispanics American culture has been greatly influenced the clothing industry with brightly colored skirts and dresses and all-cotton Mexican shirts popular style for golf-wear.
From the Paper
"The Spaniards found exotic stories to be very real. They also fed on wild rumors, stories from the Indians and survivors of early expeditions, and the fervid imaginations of explorers on the edge of a strange New World. The possibility of finding cities of gold and gilded kings was given credibility by the conquering feats of Hernan Cortes and Francisco Pizarro. In 1521, Cortes looted the fabulous treasure of the Aztec empire in central Mexico. In 1533, Pizarro vanquished the huge Inca Empire of western South America, centered in what today is Peru, exposing rooms full of gold and silver. These stories not only have become wonderful tales but also have found entry in the United States history books."
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Art as Propaganda, 2008.
This paper discusses the use of art in politics within the American society.
2,938 words (approx. 11.8 pages), 8 sources, MLA, $ 86.95
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Abstract
In this article, the writer discusses that art and politics often go hand in hand, though usually artists seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. The writer notes that at times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval. The writer concludes that the history of the way art has been used by the government suggests that the art itself is viewed in terms of its usefulness more than its actual content or any aesthetic base it may have, and primarily modern art has been used to counter the more staid and more politicized art in support of enemy ideologies.
Outline:
Introduction
Modern Art
Art and Politics
Art and American Taste
Art and Ideology
Conclusion
From the Paper
"The modern art movement diverged from the more accepted representational art preferred by most political leaders, and even though much modern art was considered too opaque to be understood and in some ways decadent, it was embraced as a propaganda tool by the U.S. government through agencies such as the CIA during the Cold War period. Most Americans are unaware of the way this process was undertaken and used and might be surprised by it, given the more prosaic attitude taken toward art by political leaders to this day. Analysts point out that many of these programs were conducted quite openly just the same, though even observers aware of the program might wonder why modern art was chosen and how it was used to benefit American interests."
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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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From Slave to Soldier, 2006.
This paper analyzes the image of African-Americans in the literature and art of the Civil War.
1,811 words (approx. 7.2 pages), 16 sources, MLA, $ 58.95
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Abstract
The paper describes literature and visual imagery by, for and about blacks. This includes slaves, freed men and soldiers alike, as well as some of the white individuals most significant to them during the Civil War years. The paper discusses how the Civil War period was for most African-Americans a time of unprecedented change. The paper continues by portraying how literature and images during this period largely reflect the frightening uncertainty of this period and its many changes. The paper concludes that African-American history of this period, as reflected through Civil War literature, art and other recorded impressions, leaves an indelible stamp on the American psyche.
From the Paper
"A key African American Abolitionist leader of the Civil War era and beyond, Frederick Douglass, a former slave and leading journalist of the time, helped to recruit free Northern blacks for the 54th Volunteer Infantry. Douglass also sent two of his own sons, Charles and Lewis, to fight in Colonel Gould's all-black regiment ("The Civil War"). Frederick Douglass believed that this would prove that black men could fight as well as white ones, as indeed it did (Frederick Douglass: When the Lion Wrote History)."
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Schuyler and Hughes in the Harlem Renaissance, 2005.
Examining the perspectives of George S. Schuyler and Langston Hughes on African-American life and art.
900 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
One of the most important movements in literature was the Harlem Renaissance, also called the New Negro Renaissance. Two of its contributors, George S. Schuyler and Langston Hughes, had very different perspectives on the art and literature of the African American. Their debate sparked a dialogue among the Harlem Renaissance community. This paper examines the argument between Schuyler and Hughes, adding the perspectives of other African American writers from the era.
From the Paper
"In Hughes' view, the racial mountain stood in the way of this --"the urge within the race toward whiteness, the desire to pour racial individuality into the mold of American standardization, and to be as little Negro and as much American as possible" (1926) Hughes thought that African American poets should not run spiritually away from their race towards whiteness, which he saw Schuyler advocating and which he thought Countee Cullen did to an extent as well."
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