| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "BURNE JONES EDGAR DEGAS PAINTINGS": |
|
|
|
Burne-Jones And Edgar Degas' Paintings, 2002.
A comparison of two paintings by artists Burne-Jones (pre-Raphaelite) and Edgar Degas (realist).
900 words (approx. 3.6 pages), 7 sources, $ 35.95
»
Click here to show/hide summary
Abstract
This paper compares a painting by Pre-Raphaelite British artist Burne-Jones with an important work by Realist, Edgar Degas. Both paintings appeared in 1860-1970 decade and have something important to say about that era and the two painters.
| |
|
An Analysis of Two Paintings by Edgar Degas and Charles Peale., 2002.
This paper analyzes "The Peale Family" painted by Charles Wilson Peale (1773 &1809. The New York Historical Society) and "The Bellini Family" painted by Edgar Degas (1859. Musee d'Orsay).
900 words (approx. 3.6 pages), 2 sources, $ 35.95
»
Click here to show/hide summary
Abstract
This paper uses the strategies that are part of critiquing in the book "Humanities through the Arts" by F. David Martin and Lee Jacobus. Paris). The author praises "The Peale Family" painted by Charles Wilson Peale, but "The Bellini Family" painted by Edgar Degas, although beautiful in its own way, is subjected to conflicting criticism. The paper explains that, by observing the line, color, and artistic agenda of each of these painters, we can critique them along the guidelines offered by Martin in his book.
| |
|
Edgar Degas, 2002.
A review of the work of the Impressionist painter Edgar Degas.
898 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper examines the art of Edgar Degas, a French Impressionist painter noted most for his ability to portray motion and sponteity in his work. It discusses how one of his favorite subjects to paint was dance and how his obsession with the female form drove him to become more skilled at painting dancing woman than anyone before or since. It looks at how none of his paintings were ever comissioned and he preferred to paint women going through the moments of daily life, unaware of the candid insights of voyeuristic beauty to be gained from their skilled observation.
From the Paper
"Degas has captured young ballerinas of the Paris opera house at their most natural, when they are practicing unselfconsciously behind the scenes, not performing for the public. The ballet dancers resemble a sequence in a movie, all of the same fascinating for their totally innovating cuts, for the decentralized pagination, for the unusual angularity: in this sense, it is evident the influence from the orientalism, highly fashionable at his time, and from Japanese prints, of which Degas was a fond collector. "
| |
|
Edgar Degas, 2002.
This paper discusses Edgar Degas, an impressionist artist whose artwork revealed a concern for the psychology of movement, expression, harmony of line and continuity of curves that distinguished him from all the other impressionist painters.
855 words (approx. 3.4 pages), 5 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper explains that, although Deges was connected with the impressionists, he never was fascinated like others were by the influence of natural light and thus did most of his work inside his studio only. The paper continues that his paintings depicted ballet, horse racing, the theater and circuses, which gave the idea that his work stemmed from the humanistic experience. The author points out that Degas? favorite subjects were scenes from the world of entertainment, the daily life of women, ballet dancers, horse races and young ballerinas.
From the Paper
"Degas was captivated and influenced by a study of Japanese prints of which style appeared to be in his later work. He drew on the Japanese idea of asymmetrical design as an object to set the subject to the side of a painting. For example, one of his paintings made in 1865, depicted a Woman with Chrysanthemums (exhibited at Metropolitan Museum of Art, New York City) where the female subject is pushed into one side by a bouquet of flowers."
| |
|
Edgar Degas and Mary Cassatt, 1994.
An evaluation of the Impressionist works and personalities in a cultural context with gender biases, styles and influences.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
»
Click here to show/hide summary
From the Paper
"Mary Cassatt is one of the less well-known of the Impressionist painters. Edgar Degas, her mentor, was one of the most important of the artists who participated in the Impressionist movement and who exhibited his paintings at Impressionist exhibitions. In many ways both were very different from other artists identifying themselves with this movement. Degas was one of the most helpful to other painters, including Cassatt, whom he also painted. The careers of these two painters are each somewhat out of the ordinary for the time and reflect different experiences, in part with differences based on gender.
There were four women classified as Impressionists--Berthe Morisot, Marie Bracquemond, Eva Gonzales, and Mary Cassatt. These four were very different artists, each of whom related to the artistic and political debates of her time in her own..."
| |
|
Degas and Hyper-sensuality, 2006.
This paper discusses the aspect of hyper-sensuality present in Edgar Degas' work.
1,125 words (approx. 4.5 pages), 2 sources, $ 44.95
»
Click here to show/hide summary
Abstract
In this article, the writer looks at the concept of hyper-sensuality as it is portrayed in the artistic work of Edgar Degas. The writer refers to Degas' famous painting 'Le Etoile' and describes a variety of possible responses from the audience. As this essay argues, the erotics of hyper-sensuality are central to an appreciation of Degas' achievement in this work.
From the Paper
"The creation of hyper-sensuality in artistic media can take many forms depending upon the medium and the interests of the artist. In the case of Edgar Degas' celebrated painting L'Etoile or "Star" (1876-1877) the artist stimulates an array of multiple sensual responses ranging from the primary visual nature of the image, to its auditory musical resonances, to the intense eroticism of the female form for its presumably male audience."
| |
|
Degas: A Study of Focus on Gender and Class, 2002.
This paper discusses the interaction between two themes in the paintings and drawings of Edgar Degas. The first is the study of form and shape, primarily of women. The second is his attitude towards the socioeconomic class of his subjects.
1,053 words (approx. 4.2 pages), 5 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
The writer argues that, because of Degas' upbringing in a family attempting to appear as nobility, he became interested in "class." Commentary on class structure was a deeply engrained part of the art world at the time that Degas was in the forefront of the field.
From the Paper
"The later work of Degas began to concentrate on women in the bath, either actually washing, or getting in and out of various tubs. This was a focus on the female body in its most pure form. The fascination he had always shown with women was now given free reign, without clothing or background to complicate his work. It is interesting, though, to note that his interest in class, as well as gender, was still represented. The bathing woman has been separated from most of the social and cultural cues that give the viewer information as to her background. This is another way that Degas demonstrated that his interest in the female form cut across class boundaries."
| |
|
"Dancers in Pink", 2007.
An analysis of the techniques employed by Edgar Degas in his painting "Dancers in Pink."
1,379 words (approx. 5.5 pages), 8 sources, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
This paper analyzes the painting "Dancers in Pink," painted by Edgar Degas in 1878. The paper describes the compositional structure of the painting and how it appeals aesthetically to the viewer. The paper then goes on to discuss the synthesis between form and color in the entire work and how they enhance the overall painting. The paper concludes by describing the use of paint and the technique of paint application, as well as Degas' choice of hues and tones.
From the Paper
"This experimentation with painting technique can be seen in the different method of paint application work. Some areas in the dresses of the two main figures are thinly painted, possibly diluted with turpentine, while others seem to be more impasto-like in their quality. It is the use of washes over thick paint that, especially in the skin tones, provides the feeling of tactile sensuality. It seems as if the pink and orange has been painted over an underlayer of flesh tones, which can just be seen beneath the rich folds of the dresses. The brush strokes also vary throughout the painting, with smoother and crisper brushwork in the dresses and figures and rougher, more 'sketchy' brushwork in the background and in the smaller figures."
| |
|
Tom Jones Finds Sophia, 2001.
This paper is an account of the amoral nature of the character "Tom Jones" in Henry Fieldings' classic novel of the same name.
1,778 words (approx. 7.1 pages), 5 sources, $ 57.95
»
Click here to show/hide summary
Abstract
This paper contrasts the selfless amoral actions and the motives thereof of Tom Jones with the other characters of Henry Fielding?s classic novel ?Tom Jones?, most notably with that of Blifil (Jones? rival suitor). This paper looks at exactly why the amoral doings of Jones leads to his attainment of Sophia (Greek for wisdom), and why the moral doings of Blifil do not. This is all explained as a conflict between morality which serves to augment the self and that of amoral action which is desire driven and thus lessens the effect of self-awareness. This unconsciousness then, that Jones lives in is proved to be wisdom; this fact is then proved through references from William Blake, Carl Jung, and Fredreich Nietzsche.
From the Paper
" Virtue and happiness (wisdom) oppose one another. Fielding himself writes in the first chapter of book fifteen of Tom Jones, ?? if by virtue is meant (as I almost think it ought) a certain relative quality, which is always busying itself without Doors, and seems as much interested in pursuing the good of others as its own; I cannot so easily agree that this is the surest way to human happiness?(601; bk.15, ch.1). The fulfillment of desire then, leads to happiness and true wisdom; this wisdom being an unconscious realization of the universe at large; a wisdom that is Sophia."
| |
|
Claude Monet's "Water Lily" Paintings.
This paper discusses Claude Monet's "Water Lily" paintings, which have had a major influence on contemporary artists.
4,170 words (approx. 16.7 pages), 29 sources, MLA, $ 111.95
»
Click here to show/hide summary
Abstract
This paper explains that Claude Monet's "Water Lily" paintings represent plein-air painting, meaning they were painted outside the confines of the studio, which relates directly to the Impressionistic mode of thinking about art. The author points out that Claude Monet emphasized the visual experience of the sensuously immediate, producing a new kind of art from an unacknowledged, yet most commonplace, kind of visual experience called "the glance". The paper relates that these later Monet paintings are akin to the Abstract Expressionism of Jackson Pollack and Abstractionists like Kandinsky because, in essence, the later water lily paintings are abstract in their concentration on flow, color texture, and movement.
Table of Contents
Monet and Impressionism
Giverney and the Water Lilies
"Water Lilies"
Importance
Figure 1: "Water Lilies" ("The Clouds")
Figure2: "Water Lilies" (1906)
Figure 3: "Waterlilies, Green Reflection, Left Part" (1916-1923)
Figure 4: "Water Lilies" (1907)
Figure 5: Bridge at Giverney. "Le Bassin aux Nympheas"
From the Paper
"In art historical terms Monet was the heir to a departure in style and content in 19th Century painting and was one of the instigators of the new school of French landscape painting. Monet's earlier work signals a break from the past conflict in art between line and color as the dominant aspects of painting. He also began his painting career in an atmosphere which no longer felt bound to paint from a religious and mythological basis - which had previously been seen as essential elements of artistic creation. This meant that the artist felt free to explore new and more expressive methods of artistic creation and "they no longer troubled themselves about composing pictures based on geometric principles. They continued to compose, of course, but they chose their patterns with an eye to pictorial rhythm, and were thereby led to seek out new rhythms."
| |
|
Oxtotitlan Paintings, 2005.
Examines the polychrome paintings of the Olmec civilization in the caves of Oxtotitlan.
1,125 words (approx. 4.5 pages), 5 sources, $ 44.95
»
Click here to show/hide summary
Abstract
The recent discovery of the polychrome paintings of the Olmec civilization in the caves of Oxtotitlan has a number of scholars searching for answers. The paper shows that some of the paintings are quite substantial in size and unfortunately the presence of tourists and exposure to the elements are beginning to have a negative effect on the paintings. The paper shows that the use of the cave as a place to hold religious ceremonies may be causing the most damage to these paintings.
| |
|
Paintings of the Romantic Age, 2003.
A summary of Romantic paintings, what makes them Romantic, what they depict, and how they reflect the culture of Europe and the world at the time.
1,090 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
The Romantic Age was an age in which artists employed many different techniques to create certain effects and feelings in their paintings. This paper focuses on some of the key pieces of art from the Romantic Age and analyzes each painting to reveal its true meaning and explain what aspects of each painting make it a Romantic work of art. It also examines how each painting reflects a certain aspect of both European and world culture at the time. This includes social, economical, and political aspects of life. The paintings include "The Raft of Medusa" by Theodore Gericault and "Hunting in the Pontine Marshes" by Florace Vernet.
From the Paper
"One painting, The Raft of Medusa, by Theodore Gericault, is a painting of a small raft that is afloat in the sea which is covered with people sprawled out over the raft. There is a wide range of emotions shown by the people floating on the raft, as some are waving a white flag trying to catch the attention of a passing ship in the far distance, to the dead bodies of those not fortunate enough to make the journey on board the raft. In fact the range of emotions seems to follow a pattern from the top right to the bottom left. In the top right a ship can be seen very far off in the distance, which symbolizes the chance of rescue. Then moving downward and leftward there are a couple people trying to get the attention of the ship. Then there are some people who seem rather indifferent and are standing about, then there are people who seem worried, which gradually advances to into mourning, some people have their hands clasped over their faces, and finally there are the sick and then the dead. The elements of art which are important in this painting are line, space, and color. The line in this painting by Gericault is much defined by the way he outlines the bodies and faces to shape their expressions. Gericault also uses symbolism, using people to represent possible human emotions for dealing with such an event, and he expresses individualism by showing almost each person with their own emotion. Finally he uses the horizon very well by giving the painting a sense of depth."
| |
|
Margo Jones, 2007.
This paper discusses Margo Jones and looks at her contribution to regional theater.
2,634 words (approx. 10.5 pages), 7 sources, MLA, $ 79.95
»
Click here to show/hide summary
Abstract
In this article, the writer presents a detailed examination of Margo Jones and her contribution to bringing regional theater to Texas. The writer explores her life and work as a director and extrapolates that to the work she did to bring regional theater to Texas, culminating in her death at the age of 43. The writer notes that before one can understand Margo Jones' role and desire to bring regional theater to the state of Texas, one should have an understanding of who she was both personally and professionally. The writer then provides a background of her life. The writer concludes that Margo Jones was a woman in a man's world, who not only refused to sink into the shadows of the theater industry, but insisted on changing it for the better.
From the Paper
"Regional theater explores many of the Broadway productions using local talent and attracting audiences from nearby. Regional theater work is not as lucrative as being on Broadway but it can be just as fulfilling, however the funding is often difficult to come by for its launching. Often the process involves fund raising or the name of an already established artist behind the project or a combination of both elements. In the state of Texas regional theater was a struggling concept that did not take flight until director Margo Jones played a key role in bringing regional theater to the state, which sparked a nationwide movement that now boasts more than 400 regional theaters."
| |
|
Salvador Dali's Paintings, 2002.
A comparative analysis of Salvador Dali's paintings entitled "On Paranoiac Critical Town" and "Slave Market with the Apparition of the Invisible Bust of Voltaire".
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
»
Click here to show/hide summary
Abstract
This paper will discuss two paintings of Salvador Dali entitled "On Paranoic Critical Town" and "Slave Market with the Apparition of the Invisible Bust of Voltaire". Some of the paintings will be critiqued and reveal how they were made, as well as a background that will include the sources of inspiration from within the author about them. By analyzing these two paintings we can compare why they were made and how they are similar and how they differ.
| |
|
Steven Spielberg's ?Indian Jones: Raiders of the Lost Ark? (1981), 2005.
This paper discusses the use of symbolism to portray the stereotype of the American male hero in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark" (1981).
1,625 words (approx. 6.5 pages), 9 sources, MLA, $ 52.95
»
Click here to show/hide summary
Abstract
This paper explains that not only are there actual symbols present in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark", such as Indiana's most feared enemy, the snake, but also the movies themselves serve as a symbol of American pop through the Hollywood's glorification and stylization. The author points out the symbolism in the main character Indiana Jones, played by Harrison Ford, who is a young, powerful educated man, coming from a civilized background with a catchy nickname "Indy", which all heroes must, and dressed in his classic American archaeologist attire of leather jacket and bullwhip. The paper concludes that the Indiana Jones trilogy continues to be an incredible success because it is so easy for the American population to relate to Indy, a hero who never failed, and because it reflects American pop culture of adventure, power and heroism.
From the Paper
"It is very possible for even one trailer that is a mere one minute and fifty seconds long, to encompass so many different symbols, that have significance all throughout the movie. The clip that portrays the most symbolism in the shortest amount of time is definitely the part of the movie when Indiana Jones finds himself fighting a town full of Arabs in the middle of a marketplace in Cairo, all in order to rescue Marion. First and foremost, this entire sequence is filmed to fully capture the role of having a damsel in distress, as Indy is fighting in attempt to save Marion. Secondly, a very apparent form of symbolism appears in the background of the shot, where the entire marketplace is full of Arabs who are all wearing turbans and sandals, a very stereotypical image of the people of the eastern culture living in that region. The most noticeable glorification of the American culture becomes very evident when Indy is facing a large Arab man with a sword, who is prepared to fight him."
|
|
|
