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Arts and Crafts Movement, 2006.
A look at how the arts and crafts movement impacted on interior design and designers.
2,475 words (approx. 9.9 pages), 2 sources, $ 97.95
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Abstract
This paper analyzes changes in interior design brought about because of the arts and crafts movement in the nineteenth century, noting that the movement made changes specifically in terms of the design of interiors, including the design of furniture. The movement was shaped by William Morris, best-known for the design of the Morris chair but also for being a leader in this artistic movement.
From the Paper
"The arts and crafts movement was a reaction to the opulence and weight of design in the Victorian era. This movement made changes specifically in terms of the design of interiors, including the design of furniture. The movement was shaped by William Morris, best-known for the design of the Morris chair but also for being a leader in this artistic movement. In the nineteenth century, the Industrial Revolution changed the nature of manufacturing and so also affected the nature of design. The Victorian style that prevailed in the nineteenth century featured heavily ornamented interiors containing many pieces of furniture, collections of ornamental objects, and surfaces covered with fringed cloths. "
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The Arts and Crafts and De Stijl Movements, 2008.
An analysis of how the Arts and Crafts and the De Stijl movements influenced contemporary British and Dutch architecture and design.
8,115 words (approx. 32.5 pages), 26 sources, MLA, $ 174.95
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Abstract
This paper compares the Arts and Crafts and the De Stijl movements. It analyzes the features of each architectural movement individually and then compares the features between them. The paper then assesses their influence on contemporary British and Dutch architecture and design. The paper provides specific examples, with pictures of how the movements influence architecture today.
Table of Contents:
Objective
The Arts And Crafts Movement
The De Stijl Movement
Contemporary British and Dutch Architecture and Design
Three Development Routes in Dutch Urban Design
Summary And Conclusion
From the Paper
"The Dutch, as compared to other countries where demand is generally met by producing generic housing that is mass-produced allow the designers a chance to design housing units upon graduation from school in part because the designers are trained to ensue upon immediate work after leaving school. The Deflt University of Technology emphasizes knowledge of a technical nature and the architects have the know-how to begin building early in their career. The reasons that Dutch designers are so successful is the results of "a situation in which construction of housing has become so systematized that it has created a well-oiled machine to support the experimentation young designers embrace." (Tisma, Bijlsma, and Dammers, 2007) Furthermore, 'Concrete shells and standard window assemblies can be deconstructed and reassembled in new ways, and even the gridded landscape in which new housing estates appear give the architects a field within which they can experiment. In a sense the whole Dutch building trade subsidizes experimentation by collectivizing individual homes into large-scale systems within which architects can create innovative forms." (p. 286) One example of the new housing estate in the Netherlands is named Hageneiland and is located just east of The Hague. This property was designed by MDRDV and was completed in 2001. This property is comprised by 119 primarily rental units. The arrangement of the housing stood a row of houses that were poured into concrete frames along the road with small front and backyards. However two units were left standing closer to the road and moved a few back and so forth which created a small village of structures since the front was not closed. This results in more interaction between neighbors going to and front their homes. Each group of units is covered in one material: (1) red tile; (2) blue metal; (3) concrete panels; and so forth."
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Arts & Crafts & Bauhaus Movements, 1996.
Compares 19th Cent. British & 1920s German art schools. Looks at the origins, critiques of society & modernization, leadership, love of beauty & utility.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"The Arts and Crafts Movement, that began in nineteenth-century Britain, and the Bauhaus movement, that started in Germany in the 1920s, had many goals in common. Both movements were interested in uniting all the arts and crafts and giving them equal dignity. Both movements were also deeply concerned with the role of the artist as worker and with the nature of work in general. Most importantly, both movements believed in beautiful design and well-made work as an enhancement of life. The importance of industrialized production and its aesthetic effects was a central question for both movements, but this was also the main point on which they disagreed. Both movements held that the industrialized production of goods had transformed the world. But, while the original Arts and Crafts movement largely rejected the machine age and all its productions, the Bauhaus.."
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Arts and Crafts Movement, 1993.
A look at the philosophy of the architectural school of the late 19th century and the views of the proponents John Ruskin, Louis Sullivan and Augustus Welby Pugin.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"Architecture and Morality
Architects Auguste Welby Pugin, John Ruskin, Louis Sullivan, and the protagonists of the Arts and Crafts Movement would have disagreed with the statement, "Architecture and morality have nothing in common." It is the purpose of this paper to explore the philosophies associated with these architects and the Arts and Crafts Movement and their relationship to the above statement.
The Arts and Crafts movement began as a mid-Victorian reaction to the ugliness and inequality caused by industrialization. It was a sacred search, a quest for a return to quiet beauty, simplicity, and honest craftsmanship (Anscombe, 1981, p. 7). Architecture was seen as a reflection of the health of the society. In the 1880s the designers who chose to..."
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Women and Art, 2005.
This paper explores the rise in prominence of the arts and crafts movement.
3,375 words (approx. 13.5 pages), 6 sources, $ 133.95
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Abstract
This paper describes how a revived interest in indigenous and vernacular design of the mid-19th century grew as a result of the convergence of a number of change drivers. The paper relates that this includes the response to industrialization, the economic need for women to earn their own money, women's fight to enter the industrial trades and men's resistance to women to entering the labor world. This essay argues that the movement is in no small way defined by women creators and artisans.
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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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Mission Style Furniture Movement, 2005.
An historical view of the Art's and Crafts (Mission Style) furniture movement. Looks at how the style is changing and advancing.
2,510 words (approx. 10.0 pages), 12 sources, MLA, $ 76.95
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Abstract
This literature review research paper examines the history of the Mission Style (Arts and Crafts) furniture and style movement. The brief history of materials and style gives a feeling of how this movement evolved and grew into the Prairie home style, which includes home design. It explains how modern reaction to the computer age has adapted the Mission style furniture to include modern materials and mass production to enable more people the opportunity to enjoy the style, function, and feeling of the original-era furniture.
From the Paper
"The start of the Mission Style furniture era started in San Francisco, California in 1894. This Mission Style movement started in the Mission Communities in California when the Missions were training people to be furniture craftspeople. Often the materials they used were what were available locally. These materials included timber, fine wood, finishes, blacksmith nails, castings and hardware. (Mission Furniture 1980). The furniture built in this Mission Style was and is a blend of form and function that blends the natural beauty and warmth of the materials used."
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Art vs. Design, 1997.
An overview of the historical debate on the differences between arts and crafts, fine arts and applied arts, aesthetic requirements, and an example (19th Century French poster artist Jules Cheret).
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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From the Paper
"The twentieth century's distinction between 'design' and 'art' derives from the sudden and overwhelming growth of technological innovation, and the commercial demand for applied design, during the Industrial Revolution of the nineteenth century. The primary distinction was between the so-called "high arts" of painting, sculpture and architecture, and "decorative or applied" design (Collins 17). This differentiation between art and design is sometimes perceived as an unfair elevation of art at the expense of design. Yet, so long as the distinction is based on such qualities as reproducibility, methods of production, or function, it is both valid and valuable. If, however, the differences between art and design are cited as criteria of aesthetic, or even moral, value, the distinction does not hold up, and is of little value to understanding either type ..."
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The State of Arts Education in New Jersey, 2005.
A look at the situation of arts education in New Jersey following the No Child Left Behind Act.
16,584 words (approx. 66.3 pages), 13 sources, MLA, $ 249.95
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Abstract
This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of American arts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper
"Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
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Glass as an Art Form, 2007.
This paper discusses whether glass work can truly be considered as a fine art or if it is relegated to being just a craft.
6,728 words (approx. 26.9 pages), 30 sources, APA, $ 153.95
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Abstract
In this article the writer notes that for many years, glass work has been considered a beautiful craft form, mostly used in pieces as decor or an element of design. The writer discusses why has it been that for so many years, glass has been singled out in this way, even to its exclusion over such sculptural and less beautiful materials such as bronze and stone. The writer discusses the relegation of glass to the field of decoration, craft and design rather than that of fine art. In addition, the writer explores the elements which are necessary for sculptural works to be considered fine art. The writer examines what the recent explosion of interest in glass work has done to improve the image of glass as an art form. Ultimately, The writer looks at who defines the difference between art and craft - whether this is the artist, the critic or the viewer.
Introduction
Background - Definition of Art
Discussion
References
From the Paper
"Such a weighty question probably lies beyond the boundaries of a paper such as this, so for the answers to this question we shall look to the ages and describe on how art has been defined in the past. Robert Collingwood, in his seminal work The Principles of Art made what is probably still considered to be the clearest definition of art. To Collingwood, art was the expression of emotions, and lives in the realm of emotion. Collingwood believed that the expression of emotion via art was a process which moves slowly from the hidden and vague to that which is explicit and clear. To Collingwood, art was the process of exploring emotions, which live within the subconscious of the artist and are not known to the artist beforehand. Collingwood was able to discern art from craft in that he believed that in crafts, the works man, the salesman knew before even the initiation of the project what emotion is being evoked, and that craft is then more calculating and deliberate in it's manner of arousing an emotional response. Ayn Rand also expressed theory surrounding art in several of her essays."
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The Arts, 2002.
A discussion of the role of the arts in contemporary society.
2,408 words (approx. 9.6 pages), 9 sources, MLA, $ 73.95
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Abstract
This paper examines the role of the arts which comprise of the disciplines of the visual arts, music, theater and dance in society and particularly education today. It shows how the arts not only impart a sense of beauty and vitality to the lives of human beings, but how they can also equip students with the necessary skills to flourish in the real world.
Outline and summary:
Introduction
Role of the arts in contemporary society; the recent resurgence of interest in the arts in schools; positive reasons for incorporating arts as mandatory courses in public schools.
Discussion on the significance of arts in society
Impact on human beings and society; historical significance of the artists? legacy.
Historical background of the role of arts in:
Society
The rise of interest in culture after World War II, leading to the division of America: one that is culturally conscious and one that is not.
Schools
The rise and fall of progressive education; attempts by the Clinton Administration to introduce the arts into public schools; gradual restoration of music programs all over America.
Discussion of the question: should arts be considered mandatory courses for public schools?
Pros
Cognitive abilities; imaginative skills; life skills; multiculturalism; improvement in students? academic performance and behavior; becoming a whole human being.
Cons
Positive results in research need to be proven; arts should not always be incorporated in other subjects; lack of funding.
Recommendations for bringing arts courses into public schools: collaboration between arts organizations and with schools; providing high quality education with well-trained teachers; innovative programs between schools and museums
Conclusions: The potential of the arts for improving education and thus our society. Lists briefly the advantages of arts education.
From the Paper
"Throughout history, many artists have been inspired by the world around them to create their works. Their accomplishments are not limited to the exclusive realm of the arts. Cave painters studied the anatomy and movement of the animals they drew. The pyramids built by the Egyptians were created with the accuracy of mathematics (Unsworth 56). Furthermore, The Impressionists? quest for color as reflected light mirrored the scientific discovery of the nature of light rays (Unsworth 56). Altogether, the rich legacy of all the artists provides contemporary generations with a vibrant representation of the human world and inspires us to continue their great work (York 274)."
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The Black Arts Movement, 2008.
Explores today's black arts movement, which includes music, stage, film, television, literature and the visual arts.
2,310 words (approx. 9.2 pages), 8 sources, MLA, $ 71.95
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Abstract
This paper explains that the black arts movement is an extension of the Harlem renaissance period. The author points out the contributions of black persons to different genres or mediums of the arts in an overall social context. The author also stresses the impact of the black arts movement on all artists, regardless of color, and to the general culture to the extent that today the lines between white and black performers has been successfully blended.
From the Paper
"It was a well known fact that, by the time many young black men reached their early twenties, they had been arrested or came of age during incarceration. Rap reflected this, not just in the music, but in the music labels that were born to promote the industry: Death Row Records; Jive Records, Def Jam; Quannum Projects. All depicted labels that told the contemporary black story, and it wasn't a pretty a story. Black community, who had supported and marched with the Dr. Martin Luther King, Jr., finally began speaking out against the violence message in rap aimed towards black women."
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Beijing Opera and Chinese Martial Arts Training, 2006.
An in-depth look at the correlation between two, seemingly different, forms of art, the Beijing Opera and Chinese martial arts.
5,455 words (approx. 21.8 pages), 11 sources, MLA, $ 133.95
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Abstract
This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.
Outline:
Abstract
Objective
Introduction
Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion
From the Paper
"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"
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Arts Education in Secondary Schools, 2006.
Assesses whether there is need for arts education in the public schools in light of the recent federal and state focus on standardized testing, which has caused school districts to reduce or eliminate arts programs in public schools.
2,250 words (approx. 9.0 pages), 8 sources, $ 89.95
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Abstract
In an attempt to determine the validity of the hypothesis that arts education is an essential inclusion in the learning experience of secondary students in the public schools, this paper conducts a need assessment through a review of existing documents. The paper contends that, based on the research, new and revised programs are need to allow all students in the American public school systems the opportunity to participate in the arts as part of their regular academic programs.
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