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Early Renaissance Art, 2007.
An analysis of early Renaissance art, in the form of a statue of Athena and the sculpture of "David."
1,886 words (approx. 7.5 pages), 4 sources, MLA, $ 60.95
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Abstract
This paper discusses early Renaissance art. It focuses on sculptures that were commissioned for various reasons. The paper describes these works of art - their inspiration and properties and the purpose of their commissions. It particularly focuses on a statue of Pallas Athena, the ancient goddess of wisdom and the protector of the city of Athens and the sculpture of "David."
From the Paper
"The only possible objection might be the church that might resist the image of a nude female form from mythology standing proud before the city. Yet the Medicis wished that their power, over the authority of the Church and the technical legal status of Florence as a republic would reign supreme. They were making a new republic of wisdom that was in reality not a democracy at all, just like "David," for all of the gestures made to Biblical times in its name and in the statue's slingshot, really strikes the viewer as more of a celebration of Man and the artistry of the sculptor than the divine. The sculpture would pay homage to the right ideology on the surface, but an even deeper message of raw power would be expressed by the image of stone and metal."
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Early Renaissance Art History, 2004.
An examination of three ways in which art changed during the Renaissance period, with an analysis of some specific works.
1,057 words (approx. 4.2 pages), 3 sources, APA, $ 37.95
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Abstract
This paper explains that there are three highly significant ways in which Renaissance art can be considered a turning point for the visual arts. It shows how, first, a series of technical advances took place from the late 13th century to the early 15th century, notably a new feeling for the solidity of bodies, for the dramatic possibilities of design and composition, and the development of scientific perspective. Second, the writer explains that there is a rising interest in the classical civilizations, most importantly ancient Rome, leading to a concern to imitate classical architecture, sculpture, and as far as possible, painting. Finally, paralleling the development of new humanism in learning and scholarship, the writer points out that a change in the content of works of art can be discerned, as ideas from philosophy and literature influence both the choice of subject and the way in which it is handled.
From the Paper
"A new individuality of style and of genre can be seen in much of the work of this period, with a breaking down of the categories of religious and devotional painting that had characterized the 14th and earlier 15th centuries. The work of Domenico Ghirlandaio (1449-94) has been described as only ?nominally religious?, and is typified by portraits and set pieces cast in the form of religious works but with more naturalistic and humanistic dimensions than in the devotional pictures of the previous century. His ?Adoration of the Shepherds? of 1485 [fig. 2] shows influences of Flemish painting in the naturalistic portraits of the figures on the right, while the careful detailing of the ancient Roman sarcophagus being used as the manger demonstrates his concern with the antique and the classical. At the other end of the spectrum from the painters who strove for realism in art was Sandro Botticelli. In Botticelli?s work the quest for linear harmony that had begun with Donatello reaches a climax in such non-naturalistic exercises in contour, movement and symbolism as ?Primavera, the Allegory of Spring? (c.1482)."
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"The Intellectual Life of the Early Renaissance Artist", 2002.
The following paper examines Francis Ames-Lewis? book, "The Intellectual Life of the Early Renaissance Artist" (2000).
1,640 words (approx. 6.6 pages), 0 sources, $ 53.95
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Abstract
This paper examines how early Renaissance artists, such as Raphael, Leonardo da Vinci and Mantegna, among others, successfully gained intellectual recognition and respect, and achieved acceptance of their artistic work in the same way as other liberal arts with reference to Francis Ames-Lewis' book, "The Intellectual Life of the Early Renaissance Artist" (2000).
From the Paper
?Ames-Lewis explores the methods and attitudes that were adopted and promoted in order to further the recognition of the artist as a creative genius who possesses and develops a unique identity and individuality.In his beautifully illustrated volume, Ames-Lewis investigates the gradual increase in the status of the artist, both from the personal efforts of the individual artists, who strongly believed that they merited a status greater than that of a craftsmen, and also from the changing perception of the society in which they lived and worked. He examines the cultural ethos of the time, which placed an increasing importance and prestige on those who were perceived as being ?learned?, thus concentrating the artists? desire to develop, and exhibit, their intellectual prowess, in addition to their recognized artistic talents.?
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Renaissance Art, 2004.
This paper discusses Renaissance art, specifically "The Judgment of Paris" by Lucas Cranach the Elder and "The Death of the Virgin" by Caravaggio.
960 words (approx. 3.8 pages), 4 sources, MLA, $ 34.95
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Abstract
This paper explains that both paintings represent a distinct style of Renaissance art, but each is from a different period and illustrates the differences that can occur during the same artistic period and the commonalities that hold the period together. The author points out that Cranach's work added much to the German Renaissance. He was the first painter to create full-sized portraits, rather than just portraying the head and shoulders, and the first to create erotic nudes, which were quite popular with private collectors. The paper relates that the many commonalities in these paintings, even though they represent different times in Renaissance artwork, are the use of great detail and the effects of lighting.
From the Paper
"The first painting, "The Judgment of Paris," is tempera and oil on wood. It measures 40-1/2 by 28 inches, and the artist, Lucas Cranach the Elder, painted it sometime around 1528. Cranach was a German painter who lived from 1472 to 1553, and painted in the Northern or German Renaissance style. This painting is executed in the natural style, blending the figures in the foreground with the surrounding landscape. The detailed landscape behind the figures is as well executed as the figures, with detail that draws the eye from the figures to the background and back again. The background even contains a medieval palace on the edge of a soaring cliff, along with a medieval village off in the far valley, with a sailing ship floating peacefully at the village's waterfront."
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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
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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.."
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The Harlem Renaissance and "Negro Art", 2008.
This paper explores the concept of "Negro Art" from the Harlem Renaissance period by analyzing the philosophies of two of that movement's central leaders.
1,440 words (approx. 5.8 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper discusses the philosophies of three leading figures of the Harlem Renaissance--Langston Hughes, George Schuyler and W.E.B. DuBois. The paper describes Langston Hughes' "The Negro and the Racial Mountain" in which he attempts to prove that the desire to not be associated with a specific ethnic class is tantamount to racial self-hatred. The author then explains that George Schuyler in his "The Negro Art Hokum" argues that African-American artists are not some sort of unified bloc and that the imposition of subject matter and style is belittling and racist. Next, the author of the paper applies the conclusions of Hughes and Schuyler to two paintings by Beauford Delaney, a prominent painter of the Harlem Renaissance. The paper concludes that the fairest and most logical approach to the study of "Negro Art" lies somewhere between Langston Hughes and George Schuyler.
From the Paper
"Another of Delaney's works that highlights the necessity of forming a compromise between Hughes' and Schuyler's contrasting theories on art is his famous pastel drawing of James Baldwin, the American writer and novelist. Although the two were close friends, Delaney does not attempt to transmit, through his strokes, a sense of his love of and appreciation for Baldwin. Had he wanted to do that, he surely would have created a different portrait than the eerie, anxiety-riddled, and yellow-hued portrait that he actually made."
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Renaissance Art, 2005.
An examination of three works of art from the Renaissance era, which contemplate the relationship of God to humanity.
754 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
This paper provides a study of 3 paintings: Sandro Bottecelli's "The Birth of Venus," Jan Van Eyck's "Arnolfini Wedding," and El Greco's "The Spoliation, Christ Stripped of His Garments." It examines how the proper and appropriate relationship of humanity to God and the spiritual realm was one of the most vexing questions of the Renaissance era and how these paintings reflect these ideas.
From the Paper
"The style of Bottecelli's "Birth of Venus" is essentially idealistic regarding the human form showing a Venus rising from the half-shell, with a gauzy web of hair around her. (Webart, 2004) Van Eyck shows a contrasting ordinary couple, filled with the physical accoutrements of marriage around them. Some have seen Van Eyck's work as a parody of middle class aspirations, but it can also be seen as a tribute to the couple, much as "Venus" is a tribute to the personal fascination of the Medici Family with Neo Platonism as a philosophy in art."
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Renaissance Art, 2004.
A review of three art pieces characteristic of the Renaissance style.
866 words (approx. 3.5 pages), 6 sources, MLA, $ 30.95
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Abstract
This paper looks at the Renaissance, a term used to describe the period of European history dating from the early 14th century to the late 16th century, predominantly in Italy. In particular, it examines the revival of the values and artistic styles of classical antiquity that is evidenced in many of the great works that were produced during that period. It discusses three of the most characteristic and highly popularized works of the Renaissance: Botticelli?s "The Birth of Venus"; Michelangelo?s "Sistine Chapel"; and Michelangelo?s "David". It emphasizes the artist?s intent, its impact on Renaissance culture, and why the works are considered a return to classical styles and values.
From the Paper
"The Birth of Venus is considered one of the greatest masterpieces of the Renaissance, incorporating both classical and Christian values. Painted for the villa of Lorenzo di Pierfrancesco de' Medici at Castello between 1485 and 1486, The Birth of Venus was a revival of the classic Greek mythological goddess of Love. But there is a twist. Sandro Botticelli, was a student of Marsilio Ficino, head of the Platonic Academy. One of the focuses of Neo-Platonism was beauty and divine (Christian) love. Sandro Botticelli combined divine love (Venus was made to be the Virgin Mary) and beauty with the Classical Theme of Venus ? The Goddess of Love, to produce one of the most beloved works of the early Renaissance."
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Greek - Renaissance Art, 2007.
This paper compares and contrasts the sculpture 'Apoxyomenos' by Lysippos with Michelangelo's 'David'.
880 words (approx. 3.5 pages), 4 sources, MLA, $ 31.95
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Abstract
In this article, the writer looks at Greek art through the work of sculptor Lysippos and compares it to the Renaissance art of Michelangelo. The writer discusses that the figure of Apoxyomenos clearly served as inspiration for future human sculptures. In comparison, the writer points out that Michelangelo went many steps further to create figures like David which express truly realistic human appearances and emotions. The writer comments that Lysippos clearly revolutionized Greek art by giving to his works a true third dimension. In contrast to Lysippos' Apoxyomenos, Michelangelo's David, perhaps the most astonishing piece of free-standing sculpture ever produced in Western art, truly represents the human form in all its beauty and proportion.
From the Paper
"One was the new canon of proportions which replaced the Polykletian canon and reflects a change in taste noticeable in all other Greek artforms. For this new canon, Lysippos created a slender, supple and tall figure, realized as if moving in true space in three dimensions. Thus, this figure moves in a kind of freeform arena through the space around it and was designed to be viewed from a number of angles.
Also, the arms of this figure curve forward, an indication that the sculptor was attempting to show the athlete reaching and twisting in actual space. The rather small size of the head is thrown into a stronger perspective by the large hand interposed between it and the viewer."
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Comparison of Renaissance vs Baroque Art, 2006.
A comparison of the Renaissance era with the Baroque era, focusing on the musical culture of both periods.
2,934 words (approx. 11.7 pages), 5 sources, MLA, $ 86.95
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Abstract
Renaissance and Baroque are no doubt the Golden Age in the history of humankind. The quantity of prominent figures in the both periods is innumerable. It is impossible to analyze even the minute part of their works in one short research. This research takes into consideration the major aspects of musical culture of the specified ages and focuses on finding differences between the two ages.
A) Introduction: Renaissance and Baroque
B) General Discussion
1) The Historical Background and Key Features of Renaissance
2) Baroque Age and its Characteristic Trends
3) Comparison of the Periods
4) The Great Composers of the Two Ages
C) Conclusion
From the Paper
"The art historian Giorgio Vasari first used the term ?Renaissance? in 1550. He used the word rinascita (Italian for rebirth) to describe the return of the ancient Roman manner of painting in the works of Giotto di Bondone. The word Renaissance acquired a wider meaning in the eighteenth century when Voltaire characterized the period between fourteenth and sixteenth centuries in Italy as the great age of human cultural achievement. In the nineteenth century, Jules Michelet and Jakob Burckhardt distinguished the era of Renaissance as a prominent historical period, which gave birth to the modern age. Everything started with the interest to antique culture of ancient Greece and Rome: imperishable beauty of ancient statues appeared before the eyes of the man after archeological digs, undertaken on the territory of Eternal city. The word "Renaissance" has to be understood in a wider meaning. It does not only describe the return of ancient culture, but it also symbolizes the unprecedented ascension of the literature, painting and architecture, as the golden age of human genius. Neither of the epochs produced such a great quantity of prominent figures in every sphere of culture. There are still no more notorious and respected painters, than Leonardo da Vinci, Rafael, Michelangelo. Fine arts depict the ideals of Renaissance most brilliantly. "
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Renaissance Art vs. Architecture, 2001.
This paper discusses the Renaissance, specifically comparing the music and architecture of the time.
910 words (approx. 3.6 pages), 6 sources, $ 32.95
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Abstract
This paper compares the music of Josquin, a composer of the Renaissance, to the architecture of the same time. The author examines how architecture and music expressed the new ideas that permeated the world during this period in history. A broad examination of both the music and architecture is included.
From the Paper
"The renaissance was a time of rebirth and renewal. All over Europe, people were looking back to times they saw as better, instead of towards the unpredictable future. Specifically, the people looked back to the ancient worlds, and found the humanitarian values of the ancient Greeks and Romans very inviting. The arts were reborn from classical ideas, and a new focus was placed on individuals and the natural world (Wright 80). New inventions and wonders filled Europe. This was the era of both the printing press and telescope?s birth. New ideas permeated the world, remolding the way people thought. Music and architecture were no exceptions to this rebirthing."
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Renaissance Art Compared, 2002.
A comparison of two paintings (by Domenico di Bartolomeo Ubaldini and Giotto) from the Renaissance period.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper shall compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. An emphasis on the visible transition in painting techniques from the early to the late Italian Renaissance is discussed.
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"Art and Architecture from Renaissance Milan", 2001.
The paper discusses Evelyn Welch?s illustration of the history of art and architecture during the rule of the two dynasties, the Visconti and Sforza, in her book, "Art and Authority in Renaissance Milan."
1,560 words (approx. 6.2 pages), 0 sources, $ 51.95
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Abstract
This paper examines the tensions and arrangements between the city government and the court in Evelyn Welch?s "Art and Authority in Renaissance Milan." Images are used to legitimize the authority of the dukes as well as the details of the multitude of problems that occurred during the constructions of the monumental cathedral of Santa Maria Maggiore, the Ospedale Maggiore, and the Castello di Porta Giovia along with the grievances that the artists and architects had with the Milanese court and government.
From the Paper
"In the first chapter, Welch discusses the images that were used to claim authority in Milan. Unlike the King of France, the signori of Milan in the fourteenth and fifteenth-century could not declare their authority as God-given. The Milan rulers, from the first duke (Gian Galeazzo Visconti) to the last (Ludovico Maria Sforza), used various sources of confirmation of their position from distant papal or imperial investitures. But the most effective means of imposing authority over the Milanese citizens and residents of the surrounding countryside was to produce countless images that asserted ducal ownership of buildings, works of art, and people. Some of these images took the form of family arms, portraits, and color codes. Bridges and towers were branded with a coat of arms when absorbed under new dominions. Some signori asserted their authority with equestrian portraits. Images were represented differently in art and literature depending on the audience and the time. Art was used as a collaborator for political control (which was not uncommon). There was a constant transition in leadership. Two dynasties controlled Milan - the Visconti and the Sforza. The Viscontis, native Milanese, were based in the surrounding countryside. The Sforzas, originally mercenary soldiers, were from the Romagna and acquired their rights over Milan through a marriage to the daughter of the last Visconti duke. In art, historical armed conflict was disguised. Successive rulers changed ancestral histories. A leader that became powerful through tyranny was transformed as reverent. But regardless of even great court commissions, the images of authority were only effective if their audiences were predisposed to accept the court?s authority. There was a reciprocal relationship between the art and the audience. "
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Florentine Art During the Renaissance, 2002.
A look at the development of art in Florence, Italy in the age of the Renaissance.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
This paper will seek to understand how art in Florence, Italy was created, and by whom in the age of the Renaissance. By understanding the artist, some of the works that make this period so special, and what Florence was aiming for in the objectives of their art. By understanding all of these elements, we can see how the artist, and the patron brought together a humanistic art to a city built for great achievements.
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Music and Performing Arts, Renaissance to Today, 2007.
A discussion of music and drama, from the Renaissance era until today.
984 words (approx. 3.9 pages), 4 sources, MLA, $ 34.95
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Abstract
This paper examines the influence that music and performing arts have had on human culture and society, focusing on the Renaissance period. The paper explains that in the early part of the Renaissance, the role of music was tremendously important as polyphony became more simplified in the Renaissance, generally "smoother" and more harmonious overall. The paper notes that there is no doubt that the technological impact of recording technologies, beginning with the phonograph and leading up to today's CDs and DVDs, has had an impact upon the individual enjoyment and distribution of music and dramatic art forms (especially film), unprecedented since the invention of the printing press in the Renaissance. In conclusion, the paper shows that today, the Internet has hugely assisted in enabling individuals to share such work among themselves, though not to the point of alleviating the isolating influence of technology or to creating a new form of communal experience.
From the Paper
"In the early part of the Renaissance, the role of religion, that is to say, the church as an organization and social unifying force, was still prominent above all else. Nation-states had not yet arisen to assert their claim on peoples' loyalty. The church represented stability and social cohesion in a world of uncertainty and danger from many sources: feudal overlords, weak central governments, and unpredictable weather and harvests. The role of music was thus tremendously important too in this period. Polyphony became more simplified in the Renaissance, and generally "smoother" and more harmonious overall."
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