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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
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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..."
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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
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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. "
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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
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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.
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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
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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.
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Thomas Eakins and Mary Cassatt, 2001.
This paper discusses the lives of Thomas Eakins and Mary Cassatt along with summaries of some of their works.
2,476 words (approx. 9.9 pages), 4 sources, $ 75.95
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Abstract
A paper discussing Thomas Eakins and Mary Cassatt, along with some brief descriptions of selected works. Short biographies are given of both artists. The author mentions the style of each artists.
From the Paper
"From the late 1860s to the late 1880s a French art movement flourished. Derived from Monet?s painting Impression, this worldwide movement was called Impressionism. Impressionists painted mainly of modern-day subjects in the open air. They used a lot of bright colored paints (little drawing) and aimed to capture the effects of light. Two great American artists of this time were Thomas Eakins and Mary Cassatt. Thomas Eakins was born on July 25, 1844 in Philadelphia. His father was a writer from which he inherited a lot of talent. He also learned to love the outdoors from his father and his childhood. He was very outgoing and did exceptionally well in school. Eakins especially loved science and math, which he enjoyed using later in his career."
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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
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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."
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Mary Cassatt, 2005.
Examines the life history and paintings of this 19th Century American artist.
1,024 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper begins by presenting the life history of Mary Cassatt, born in Pennsylvania and educated in Europe and the United States. It explores the beginnings of her painting career and the techniques which she employed in her work. The paper then focuses on Cassat's "Little Girl In A Blue Arm Chair" and provides a description of the painting.
From the Paper
"Mary Cassatt influenced Impressionism. She also had an important role in sponsoring and in financial promotion of Impressionist art. She sometimes bought paintings of her friends when they were short of cash and with her connections to rich American families, she encouraged them to buy Impressionist art. Some of the collection is at the New York Metropolitan Museum."
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Artists of the Impressionist Period, 2006.
This paper presents thumbnail sketches of six Impressionist artists: Claude Monet, Eduardo Manet, Pierre-Augusta Renoir, Edgar Degas, Mary Cassatt and Camille Pissarro.
835 words (approx. 3.3 pages), 8 sources, APA, $ 29.95
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Abstract
This paper explains that Claude Monet was the leader of Impressionism; his "Impression: Sunrise" painted in 1872 gave the term Impressionist to this group of painters who followed the style of Eduardo Manet. The author points out that Mary Cassatt, the only American and woman of the movement, painted scenes of people engaged in ordinary daily activities. The paper relates that the last true Impressionist Camille Pissarro inspired Post-Impressionist painters such as Matisse and Cezanne.
Table of Contents
Introduction to the Impressionist Period
Claude Monet: The Movement's Pioneer
Eduardo Manet: The Movement's Inspiration
Pierre-Augusta Renoir: Using the Movement to Move to His Own Style
Edgar Degas: Representing Movement and the Working Class
Mary Cassatt: The American and the Woman of the Movement
Conclusion: Camille Pissarro: The Last Official Impressionist
From the Paper
"Photography was invented in the 19th century. The Impressionist artists wished to bring a new element to art. They wished to show the artist's inner life. They believed that simply showing what existed 'in life' was not enough to justify the further existence of art. The Impressionist movement began in France, the heart of the art world of a late 19th and early 20th century Europe. "Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. Characteristics of Impressionism were an attempt to accurately and objectively record visual reality in terms of transient effects of light and color." "
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"Frankenstein" ( Mary Shelley ), "Dracula" ( Bram Stoker ) and "The Cask Of Amontillado" ( Edgar Allan Poe ), 1999.
Analyzes the protagonists' psychological disorders: pathological narcissism ("Dr. Frankenstein"), repression of the libido ("Dracula") and repression of guilt ("Fortunato").
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"In Mary Shelley's Frankenstein, Victor Frankenstein is a man suffering from pathological narcissism. This narcissism is manifested specifically in Frankenstein's case in his grandiosity and the gratification he derives from his admiration for his own mental attributes. As with Narcissus, Frankenstein's self-obsession ends in disaster and death as the object he creates outside of himself as representation of his self-love ultimately brings about his own demise. Frankenstein is completely obsessed with the quest for power and knowledge, specifically power over nature, and, by extension, over death. His creation of the monster, in this context, is an expression of his desire to live beyond death, if indirectly in the monster. Ironically, that is what does occur--the monster outlives his narcissistic creator, although perhaps not for long, as the monster exits vowing to ..."
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"Mary Shelley's Frankenstein" ( Kenneth Branagh ) and "Frankenstein" by Mary Shelley, 1995.
This paper compares the film director Kenneth Branagh's and book author Mary Shelley's depictions of "Mary Shelley's Frankenstein" and "Frankenstein" respectively: Characters, relationships, plot, focus, images, pacing and style
1,350 words (approx. 5.4 pages), 6 sources, $ 47.95
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From the Paper
"The recent motion picture version of Mary Shelley's novel Frankenstein hews closely to the plot of the novel while failing to capture its essential purpose. The full title of the movie is Mary Shelley's Frankenstein, but the possessive does not mean that this version can be considered mary Shelley's vision. Janet Maslin of the New York Times notes this when she writes that the film will not strike anyone as chiefly Mary Shelley's invention. Its principal architect is Kenneth Branagh. . . [who] takes on the godlike, idealistic young scientist's role while also directing this "Frankenstein" as an overheated romantic fable .
An examination of the book and the film shows where the attitudes ... "
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Impressionist Painters, 1995.
This paper discusses Impressionist: Motivations, styles, major works, gender & cultural factors and relationships of Berthe Morisot, Mary Cassatt, Jean Renoir, Claude Monet, Edgar Degas and others.
3,375 words (approx. 13.5 pages), 6 sources, $ 119.95
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From the Paper
"The "First Ladies" of the French Impressionist movement were undeniably the Frenchwoman Berthe Morisot (1841-95) and the American expatriate Mary Cassatt (1944-1926). They were also, by reason of default, the "second," "third" and "fourth"-tiered women of Impressionism as well - for there were no other female Impressionists of note, despite the fact that one or two other women had associations and hangings with the movement's acknowledged inner-circle of males: Pierre-Auguste Renoir (1841-1919), Claude Monet (1840-1926), Camille Pisarro (1830-1903), Edgar Degas (1834-1917) and (by others' judgement if not his own) Edouard Manet (1832-83). By default or not, Morisot and - to a much larger degree - Cassatt stand firmly in the midst of that company of gentlemen because they were good at their art, not by any condescension on the part of either critics or ... "
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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
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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."
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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
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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."
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Velazquez and Cassatt, 2008.
A comparison of two portraits; Diego Rodriguez de Silva y Velazquez's "Juan de Pareja" and Mary Cassatt's "Lady at the Tea Table".
741 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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Abstract
The paper describes and analyzes two portraits from different eras and movements; Diego Rodriguez de Silva y Velazquez's "Juan de Pareja" from 1650 and Mary Cassatt's "Lady at the Tea Table" from 1885. The paper identifies how these artists have utilized the same factors of artificial symmetry and contrast and gaze of the subject in order to reach different goals.
From the Paper
"The first painting to be studied is Velazquez's Juan de Pareja. The first thing that is striking upon viewing this portrait is its two-dimensional composition. The figure, Pareja, is composed in the space asymmetrically. The man is aligned to the left side of the portrait, his head and body filling the space to the left of center. Yet, his chest/torso, cloak, and arm fill the right side of the space rather well. While Velazquez does not exhibit symmetry in his two-dimensional composition by doing this, he achieves what this writer feels is a rather nice effect. The proudly displayed chest and body of Pareja give a sense of regality and pride to the portrait."
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Mary Espoused to The Father, The Son & The Holy Spirit, 2007.
An in-depth examination of the relationship of Mary to the Father, the Son and the Holy Spirit.
12,150 words (approx. 48.6 pages), 8 sources, APA, $ 234.95
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Abstract
This paper provides a historical and theological investigation as to the role of Mary within the Church, specifically as to whether Mary should be considered espoused to God, the Father, or to Jesus the Son, or the spouse of the Holy Spirit. This work explores the development of the role of Mary from the viewpoint of the Church Fathers and how that development has taken place. This work also looks at the biblical and doctrinal basis relating to Mary's espousal and further explores the writings of St. Louis Marie De Montfort and St. Maximilan Kolbe in understanding the role of Mary as the spouse of the Holy Spirit.
Contents:
Abstract
Introduction
Statement of Thesis
Chapter 1: Spiritual and Doctrinal Foundations
Chapter 2: Mary, Espoused to God the Father?
Chapter 3: Mary, Espoused to Jesus Christ?
Chapter 4: Mary, Espoused to the Holy Spirit?
Chapter 5: Writings of St. Louis Marie De Montfort & St. Maximilan Kolbe
Chapter 6: Synthesis & Conclusion
From the Paper
"Votes were taken with the result being 1114 voting in favor of integration of the marian schema into the Church Constitution and 1074 in favor of a separate schema for Mary. It is stated that this division was reported by news media to be a split as to whether the authenticity of Mary as Mediatrix was to be adopted into the church however, in reality the only division among the Cardinals was as to whether a separate schema should be given to Mary.
Mary is held up as an example of what is termed a "total faith response to God". (McBride, 2003) Chapter VIII of Lumen Gentium states that the Old Testament is to be "understood in the light of further and full revelation." (LG #55) According to mariologist James O'Connor: "in the light of the fullness of revelation we are not 'reading back into' the documents something which is not really there, but something which is truly there but only fully understood when read in the perspective of the completed work." (O'Connor, 1986)"
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