| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "ART ITALIAN": |
|
|
Italian art cinema, 2003.
A comparison between Hollywood films and Italian art cinema.
1,840 words (approx. 7.4 pages), 9 sources, MLA, $ 63.95
»
Click here to show/hide summary
Abstract
This paper compares and contrasts classical Hollywood films with Italian art cinema. It explores the characteristics and elements of each. The paper provides examples from "Casablanca," "The Bicycle Thief," "A Fistful of Dollars" and "Last Tango in Paris." The author discusses the Hollywood star system and principles of Neo-Realism.
| |
|
Angel's In Italian Renaissance Art, 1994.
Analysis of the position that angels hold in Italian Renaissance art. Focus is on iconography of the Archangels. Describes such paintings as: THE ARCHANGEL MICHAEL; Lotto's THE ANNUNCIATION; & Savoldo's ST. MATHEW & THE ANGEL.
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"Angels hold a particularly important position in Renaissance art, and the iconography of the Archangels is especially meaningful. The Archangels are the seven angels who stand before God in Revelations. The Koran of Islam only recognizes four and only names two. Christian and Jewish sources agree on the number seven, but there is a debate over who they actually are. Four names appear regularly in these discussions, however--Michael, Gabriel, Rapha-el, and Uri-el. The other three traditional candidates are chosen from Metatron, Remi-el, Sari-el, Ana-el, Ragu-el, and Razi-el (the suffix "el" means "brightness" or "shining"). The Archangels are said to be messengers who carry Divine Decrees, and they are considered the most important intercessionaries between God and humans. It is they who command the legions of Heaven in their constant battle with the Sons of.."
| |
|
Mikhail Kuzmin And Italian Commedia Dell'arte, 2007.
An analysis of the life and writings of Mikhail Kuzmin and Italian commedia dell'arte.
983 words (approx. 3.9 pages), 6 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper analyzes early twentieth-century Russian theater and cabaret. It focuses on the work of writer, poet and playwright Mikhail Kuzmin and Italian commedia dell'arte. It provides a background of Kusmin's life and focuses on the impact of his homosexuality in his writing. The paper then describes some of his works and critics' analyses of them.
Table of Contents:
Objective
Introduction
Kuzmin (writer, poet, playwright) Russia's First Openly Gay Writer
The Entire Life of the People Lived Out in the Theatre
Integration of Elements of Commedia and Reality
Summary and Conclusion
From the Paper
"The unleashed sexuality, the brewing revolution, and the overall societal shift during this period of time resulted in vivid displays of contention of the present political system at this time in Russia. Masses flooded the theaters and the theaters took to the streets as a revolutionary spirit moved in and among all in the Russian society, inciting rebellion against the status quo and in the dramatic displays in the artistic events and movement of that time period that was the driver of and to a great extent of the progression of the revolution that took place in Russian in the early twentieth century."
"Artists were given prominence among scholars and politicians however, only for a moment of time as post-Revolution thought exhibited little appreciation of those who provided such fire and energy propelling the revolution forward. The post-Revolution period witnessed the work of Kuzmin "falling out of favor with the Communists, and Leon Trotsky (1879-1940), in the work entitled: "Literature and Revolution" (1924) labeled the work of Kuzmin as "disreputable and useless." (Clayton, nd )"
| |
|
Italian High Renaissance and North European Art, 2004.
Examines how artists such as Raphael Sanzio and Hieronymus Bosch came to represent the differing styles of 16th century European art.
1,114 words (approx. 4.5 pages), 3 sources, APA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper examines 16th century European art. It first shows how, during this time, the Italian artists successfully claimed a very high place among the fine arts with their masterpieces. It focuses, in particular, on the artist most typical of the High Renaissance period, Raphael Sanzio (1483-1520). The paper looks at Sanzio's "School of Athens" as an example of his work. In contrast, while this great art movement was occurring in Italy, the lands beyond the Alps were still immersed in the Gothic manner, which persisted well into the 16th century in the north of Europe. The paper examines the work of Flanders artist, Hieronymus Bosch, and his painting, "Garden of Earthly Delights".
From the Paper
"The subjects in this painting are apparently derived in part from three major sources, being Medieval bestiaries, Flemish proverbs and the then very popular dream books, all intertwined in the melting pot of Bosch's astonishingly inventive imagination. In addition, there are frequent allusions to magic and alchemy and animal and vegetable forms are mingled in the most absurd combinations. Symbols are scattered throughout the panels, such as "fruit for sexual pleasure, eggs for alchemy and sex, a rat for lies and fabrications and dead fish for memories of past joys.""
| |
|
Art History Comparison, 2001.
This paper is a comparative study in art genre and style regarding the Italian Renaissance, the Northern Renaissance and Italian Baroque.
1,910 words (approx. 7.6 pages), 8 sources, MLA, $ 60.95
»
Click here to show/hide summary
Abstract
This paper is an in-depth look at the history of art in the Italian and Northern Renaissances, and Italian Baroque. The author discusses how art reflected the social and cultural changes, and compares the styles of the three periods.
From the Paper
"A glance back into the history of art genre and style is much like a glance back into a globalized mirror of cultural and societal change. Art is a traditional form of expression common to all civilizations and cultures, a form of expression that has conventionally been shaped by a shifting society and dictated by the diversities that shift that society. A look at the history of the evolution of art genre and style, therefore, offers also a reflective look at the centuries of change and decades of dissemination that shaped not only the evolution of art, but also the evolution of human civilization at large. Three artistic periods in particular present a clear and comprehensive reflection of the societies and eras that shaped them. These periods are known as the Italian Renaissance, the Northern Renaissance and the era of the Italian Baroque."
| |
|
Exaggerated Art, 2002.
This paper looks at Mannerism in Italian Painting in 15th and 16th century art.
1,289 words (approx. 5.2 pages), 5 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
This paper aims to provide information on Mannerism in Italian Renaissance Art. It includes a brief history of Mannerism and its phases in Italian art. This paper also discusses the importance of Mannerism to Renaissance artists. It also includes brief information about mannerists as well as their works.
From the Paper
"Mannerism is a style in art and architecture of the 16th century. It is characterized by the distortion of elements such as proportion and space. In general, Mannerist artists and architects took the classical or idealized forms developed by Italian Renaissance artists of the early 16th century, but exaggerated or used these forms in unconventional ways in order to heighten tension, power, emotion, or elegance. The first to begin working in the Mannerist style were the Italian artists in Florence and Rome around 1520. Mannerism soon spread throughout Italy, France, Eastern Europe, Germany, and The Netherlands. In Italy, the more emotionally compelling baroque style had replaced Mannerism by 1600, whereas in northern Europe Mannerism continued well into the 17th century."
| |
|
The Italian Renaissance, 2005.
A brief analysis of the notion that what characterized the Italian renaissance was a sense of human power and a glorification of human activity.
1,383 words (approx. 5.5 pages), 5 sources, APA, $ 46.95
»
Click here to show/hide summary
Abstract
Beginning with a definition of the term renaissance, this paper explores, through specific examples of writing, art and architecture, how and why the Italian renaissance may be characterized as a glorification of human power and human activity. Petrarch and his contemporaries are presented as examples of a return to classical idealism in Europe. Further, an exploration of the dignity of man, as well as renaissance art and architecture are detailed, giving weight to the paper's thesis. Specific art examples discussed in the paper include the Merode Altarpiece (1425-1428) by Master of Flemalle, Michelangelo Buonarrotis' David and Bramante's Tempietto.
From the Paper
"The Renaissance, from the French word renaissance and the Italian word rinascita, both meaning rebirth, is considered by some to have officially begun in 1341 when Francesco Petrarch (1304-1374) was crowned in Rome with the Laurel wreath, the ancient symbol of victory and merit. Petrarch, as one of the first humanist writers, explored modern life through the lens of the ancient Romans and Greeks. Both Petrarch and his contemporary Boccaccio (1313-1375) "were famous in their own day as poets, scholars and men of letters - their achievements equivalent in honor to those of the heroes of civic virtue." As the word humanism suggests, the principle concerns of its advocates were human values and human interests, which are distinct from, but not entirely opposed to, the other worldly values of Christianity."
| |
|
Italian Renaissance Theatre, 2002.
A discussion of the Commedia Del Arte Theatre and contributions of Italian Renaissance theatre to Western theater.
1,453 words (approx. 5.8 pages), 8 sources, MLA, $ 48.95
»
Click here to show/hide summary
Abstract
This paper is in two parts. The first part discusses the Commedia Del Arte or drama that employs comedy and has a happy ending, which began during the Italian Renaissance. It examines its origins and its popularity as well as its methods of acting. It evaluates its effect on modern comedy such as the concept of slapstick, timing in the repartee and romantic comedy. The second part outlines the other contributions of Italian Renaissance theatre to Western theater such as the introduction of the profession of acting and theatre and set design.
From the Paper
"Commedia Del Arte made many contributions to modern comedy. First, timing was important in the repartee and has been in comedy ever since. Second, slapstick comedy, such as that practiced by Chaplin, Keaton, and Lloyd is a direct descendent of Commedia Del Arte. Third, modern romantic comedy had it origins in the plots and characters of Commedia Del Arte. Finally, both situation comedy and animated cartoons employ elements of Commedia Del Arte (Suzuki; Commedia Dell?Arte)."
| |
|
Botticelli - The Artist and his Works of Art, 2008.
A summary of the life of Italian painter and draftsman Sandro Botticelli, as presented by the "Oxford Art Online" summary.
1,147 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper is a summarization of the training, background, artistic influences, social context, and religious affiliations of Sandro Botticelli, Italian painter and draftsman, as presented by the "Oxford Art Online" summary. The paper also discusses how these factors played their role in the development of the art of Botticelli.
From the Paper
"Many factors played a part in the style and rendering of Botticelli's art. Much of his work had a direct correlation with his teaching, philosophy, society, religion and political influences during his career. Botticelli's concept of what was "creation" and the influence of his teacher was evidenced in his earliest work. Soon his art began to evolve into a more distinguished and abstracted style. Yet, Botticelli utilized the same methods of painting throughout his career. Much of his methods were similar to other Italian artists of the time with the exception of his utilization of black ink and wash applied after the foundation colors were laid down. This process reset the contours and gave the human form mass by modeling the light and shadows. Botticelli would then apply the finest pigments in opaque layers known as scumbles."
| |
|
The Italian Renaissance, 2005.
This paper highlights Asian and Muslim influences on the Italian Renaissance.
675 words (approx. 2.7 pages), 3 sources, $ 26.95
»
Click here to show/hide summary
Abstract
The paper notes that the Italian Renaissance is often thought of in terms of humanism and landmark high art as it influenced the next chapters of European art history. This paper argues the importance of Muslim influence, notably in everyday and decorative items and arts that were most important to what happened in Italian centres whose material cultures were more Eastern than we might imagine.
From the Paper
"The Italian Renaissance is often studied for its humanism and its famous paintings. Less time can be devoted to everyday practical items or the decorative arts, that were also shaped by diverse influences reaching Italy. Rosamond Mack wrote on Italian trade with Muslim societies that it brought much change to Renaissance ceramics, glass and textiles and again, noting the importance of what can be quite ordinary decorative articles. (2001) Islamic cultures were declining by the 15th century, by which time the arts in Italy were flourishing."
| |
|
Titian and Great Artists of the Italian Renaissance, 2004.
This paper describes the life and times of Titian, the great Italian Renaissance artist, as if Titian was telling his story.
2,645 words (approx. 10.6 pages), 7 sources, MLA, $ 79.95
»
Click here to show/hide summary
Abstract
This paper, in relating the personal story of Titian, also includes descriptions of the work and lives of other great Italian Renaissance, such as Ghirlandaio, Giorgione, Leonardo da Vinci, and the Bellini brothers. The paper points out that Titian didn't know where he got his passion for drawing because his father never enjoyed art and thought that art was only a waste of somebody else's time. The paper explains that Titian liked to take his subjects from popular Venice, from the streets, from common people, and Venice had plenty of these to provide.
From the Paper
"Florence at that time provided a fully competitive market: there many painters, many of them extremely talented, but there was also much available work to be done. The Medicis, rich bankers and art lovers, wanted to make out of their city one of the most beautiful in Italy and wanted to rival the Papal Rome in art and creation. Lorenzo de Medici provided a Mecca for artists in Florence and publicly supported them. I continued to work in the church of Santa Maria Novella where I finished what Ghirlandaio had started. It was my pure luck that Giovanni de Medicis, Lorenzo?s second born son, who was to become Pope Leo X, came one day to the church and keenly observed my work. He praised my use of perspective and told me he will remember me in times of power."
| |
|
Italian-American Women in Literature, 2005.
This paper discusses the evolving and multifaceted roles of Italian-American women in literature through the eyes of Italian-American male and female authors.
2,110 words (approx. 8.4 pages), 9 sources, MLA, $ 66.95
»
Click here to show/hide summary
Abstract
This paper explains that stereotypes from whores to the Holy Madonna incarnation encompass the multi-faceted and contradictory roles of Italian-American women in Italian-American literature written by both Italian-American men and women. The author points out that the literature relates that social class, differences in religiosity, the American tradition and construction of success and the often contradictory ways the familial and immigrant experience, have come into conflict with the female experience in American. The paper reviews Pietro di Donato's relatively early novel "Christ in Concrete", Mario Puzo's "The Godfather", Helen Barolini's novel "Umbertina" and her collection of personal and scholarly entitled essays "Chiaroscuro" and Evidge Giunta's text "Writing With an Accent" to demonstrate that beneath these narrow stereotypes more complex and individuated roles of Italian-American women's life do emerge.
From the Paper
"These images emerge in the depicted reality of nonfiction as well as fictional life come forth, as these women are seen engaged in child rearing, showing impressive work ethics to enable their families to survive, laboring as well as suffering in the role of daughter, and as these women show their strength in their roles of mother as well as their silent compassion. Gradually, as Italian women themselves began to speak, Italian women and authors have grown fluent at showing female Italian working and middle-class sexuality as well as images of long-enduring Mediterranean fortitude, women alone in the role of a wife bent over a stove bubbling with red hot gravy and meatballs smelling of garlic and onions."
| |
|
Italian Opera, 2001.
This paper examines, in brief, the history of Italian opera, focusing on opera in the 19th century, and the ways in which opera has become a part of American culture and influenced American music.
1,235 words (approx. 4.9 pages), 4 sources, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
The following paper examines the history of Italian opera focusing particularly on how Italian singers and composers helped to transform opera in the United States from an art form that was something that only the elite followed to something approaching a truly popular art.
From the Paper
"Opera is simply the Italian word for work and describes a piece of drama set to music, distinguished from plays in which music is merely incidental. Although there are certainly distant antecedents to opera in the music of Greek tragedy and Medieval European miracle-plays, it begins as a distinct art form (as dramas that were set to music in order to be produced as musical works of art) at the beginning of the 17th century. Kimbell, 1994, p. 11)."
| |
|
Italian-American Women in Cinema, 2002.
A compare and contrast analysis of the role of Italian-American women and American women in cinema.
1,373 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper discusses the role of the Italian-American women in American cinema and the functions that they fulfill within the Italian-American community and draws a comparison between Italian-American female roles and the parts played by American actresses. It examines some of the more famous Italian-American female characters in films such as cinematic masterpieces such as ?The Godfather" and ?True Love? and how they are usually portrayed as working class and victims of violence. It shows how both Italian-American and American female characters in movies are challenged by a patriarchal society. The only difference is that the American character is free to do something about it even if all odds are against her whereas the Italian-American female characters on the other hand do not possess that luxury because their cultural norms do not allow such liberties.
From the Paper
"Then there are directors such as Martin Scorsese and Francis Ford Coppola who have made powerful Mafia movies ?Goodfellas? and ?The Godfather? respectively. Even though the main theme of their movies is the havoc that the mafia wrecks in the lives of Italian-American immigrants there always exists a strong underlying theme that relates the role of the mothers, daughters and wives of these mafia members. In short the role of the ?family?. For example in a comic scene in the ?Goodfellas? Scorsese makes a connection between food and death when Tommy?s mother serves them a mouth-watering meal just after her son and his friends have returned from trying to commit murder."
| |
|
Venus in Art, 2004.
This paper explores Venus?s representation in art through the Classical and Renaissance periods and into the 19th century.
2,725 words (approx. 10.9 pages), 1500 sources, APA, $ 81.95
»
Click here to show/hide summary
Abstract
This paper explains that, throughout history, Venus as a representation of love and beauty has been captured in various media, including the visual arts of paintings and sculpture, music, and drama. The author points out that understanding the roles in history and Greek mythology of Venus, an ancient Italian goddess closely associated with fields and gardens and later identified by the Romans, and Aphrodite, the Greek goddess of love, is important for understanding how artists have been able to use her as a representation of love and beauty. The paper relates that artistic representations of Venus have long been associated with female sexuality as embodied in the ?Venus Pudica?, a statue in which Venus stands erect with her face slightly turned away, one hand over her breasts and the other shielding her groin, displaying both modesty and an alluring nature.
Table of Contents
Introduction to Venus and Aphrodite
Venus and her Roles in Classical and Renaissance Art
Venus and Sexuality
Venus, Madonna, Mary Magdalene and the Female Role in Society
Venus in Contemporary Culture
From the Paper
"During the 18th century, the French painter Fran?ois Boucher also captured the charms of Aphrodite, often depicted her in his most notable work ?The Triumph of Venus.? Boucher?s style was considered to be in the Rococo genre. Rococo by nature is light, playful, and can sometimes be a bit frivolous but proved to be a suitable style for depicting the goddess of love and beauty. This painting indeed conveys to the viewer feelings of delight and joy. Another artist who produced works that depicted the birth of Aphrodite was the French painter J A.D. Ingres. Ingres? work is considered more classical in form that Boucher's version and is part of the artistic movement known as Neoclassicism. In addition, Ingres? work draws inspiration from the past as he depicted her as she emerges from the sea."
|
|
|
