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Edvard Munch's Famous Painting, "The Kiss", 2001.
A short look at the artistic qualities and techniques used in this famous painting.
609 words (approx. 2.4 pages), 1 source, $ 21.95
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From the Paper
"The work is quite simple, using simple artistic devices in order to capture this couple?s one timeless moment. It successfully portrays joy pulling the viewer into the painting?s depths with its brilliant use of colour and shape, creating another reality. It?s as if you are looking at these lovers through a glass panel, distorting them and melding them together until they themselves look as smooth as the glass that protects them."
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Edvard Munch, 1992.
The life, influences and works of Edvard Munch.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"Edvard Munch
Introduction
Edvard Munch was born in Norway and spent much of his life in Oslo. Munch's work seems to borrow more from the existentialists, at least thematically, than from earlier artists. Much of his work is focused on the issue of resolving questions of meaning in a modern world in which old traditions have broken down. Spirituality was also an important element in his life, and work.
Munch had a unique body of work within the framework of his career, termed the Frieze of Life, that stands out because of its thematic foundation. He seems to be a relatively studied, and intellectual, artist, working within a framework established through intensive reflection and analysis. At the same time, he..."
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'The Scream' by Edvard Munch, 2006.
675 words (approx. 2.7 pages), 3 sources, $ 26.95
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Abstract
This paper discusses 'The Scream' which was conceived by Edvard Munch while he was journeying across a bridge with friends. The painter discussed that he was suddenly stricken with a sky that was red as though blood and a reality that horrified him even though it was for an instant Munch wanted to tell of his horror of the moment in the painting and painted a figure that has been said to be representative of the soul rather than the physical being. According to the paper, Munch's use of medium was different than any other painter of his time, as was his theme of reality in life that had not previously been exposed on canvas. Prior to the time the contemporaries of Munch expressed stories of the world around them, but not their innermost feelings of anguish.
From the Paper
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Edvard Munch & Pierre Puvis De Chavannes, 1997.
Analyzes Munch's major paintings & influence of Puvis. Style, themes, aesthetics, technique, icongraphy, color and more.
5,850 words (approx. 23.4 pages), 21 sources, $ 135.95
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From the Paper
" Though certain compositional strategies recur regularly in the paintings and graphic works of Edvard Munch, the origins and specific uses of these strategies have not been fully investigated. The question of compositional types, and their relation to types of expression, has been subordinated to a concern with what is expressed in the individual works, and how this relates to Munch's personal experience. Critics and scholars have, therefore, tended to assess Munch's output in a manner that emphasizes the persistence of thematic material across such formal categories as compositional type, use of line, and others. The equally pronounced persistence of compositional strategies has only become a major subject since recent scholarship returned to the question of sources, including the formal models that influenced the forms of Munch's expression."
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Munch and Expressionism, 2002.
A biography of the life and works of the artist Edvard Munch.
2,782 words (approx. 11.1 pages), 4 sources, MLA, $ 83.95
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Abstract
This paper examines the life of the German painter Edvard Munch and his influence on German Expressionism. It analyzes how the death and disease that is so much part of Edvard Munch's art was a natural consequence of the time in which he lived and the painful circumstances of his personal life. It shows how he was able to take this pain and grief and synthesize it into art and revolutionized the way visual arts were perceived. Not satisifed with the range that canvas and oil gave him, Munch turned to more innovative technique in an effort to create art that could be reproduced so he carved wood blocks and working closely with printers developed lithographic techniques that changed the way art is made.
From the Paper
"Like the paintings of the Impressionists -- especially the Post Impressionists -- Munch used tremendously bold strokes and very aggressively attacked the canvas, often scratching and etching the dry paint and applying layer after layer of thick paint in unnatural colors. Filmmaker Peter Watkins in a docu-drama film on the life of Munch does an amazing job of catching this process on film. (Watkins online) The often-sickly Munch, attacked the canvas with the same sort of physical intensity as the more robust Gaugain but of course for different effect."
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Munch and Van Gogh, 2002.
Compares the personal and religious views of death in the "Sick Room" by Edvard Munch and "The Sower" by Vincent van Gogh.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
To the unaware and the obtuse, Edvard Munch and Vincent van Gogh simply made paintings. Much like a hot political speech or a fiery church sermon, there is evidence of passion for much more than what is simply on the surface of each artist's works. What becomes clear in looking deeply into not only the works themselves, but the mindset of each painter and the issues of import during the time in which they worked, is that Van Gogh, Munch, and artists like them could not contain their fears about the world and about their mortality in check and used their painting as self-therapy. What we see are not images that were intended for universal appeal; they are deeply personal works that demonstrate elements at the core of each man. Van Gogh's "The Sower", for instance, is a metaphor of not only the questioning of Christ in the Gospel of Mark (through the story of the Sower), but of the internal metaphor of sowing one's own life. Munch's "Death in the Sick Room" also demonstrates a religious parable and a personal one, that of his family surrounding his dying sister, Sofie, and of the crucifixion of Christ and the mourners of different shades who surrounded him. It is the purpose of this paper to examine the elements of personal and theological perspective employed in these two works and to explore their greater application and generalization to the viewer.
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Munch and Ibsen, 2002.
Examines how the work of artist Edvard Munch was influenced by the playwright, Henrik Ibsen.
1,650 words (approx. 6.6 pages), 7 sources, $ 62.95
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Abstract
This paper examines the influence of Henrik Ibsen on the work of Edvard Munch. Munch designed playbills and sets for Ibsen's works and also sketched and drew based on images from his plays.
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The Rules of Landscape Painting and the Poetic Practice of Xie Ling-Yun, 2002.
A review of Xie Ling-Yun's poem "Visiting the Southern Pavilion" in light of the generic rules of landscape painting.
1,400 words (approx. 5.6 pages), 2 sources, $ 53.95
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Abstract
This paper will discuss the representation of the natural landscape in Xie Ling-yun's poem "Visiting the Southern Pavilion". It will be shown, through a comparative analysis of Chinese texts on landscape painting, that Xie Ling-yun's poem plays with, and is juxtaposed against, the generic rules of landscape painting. The poetic landscape, which appears to be a celebration of the beauty of summer, is actually a reflection upon mortality and suffering. From this perspective, Xie Ling-yun's poem may be seen to have philosophical depth lacking in most landscape painting.
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Thomas Cole's Painting: "The Architect's Dream", 2007.
This paper discuses Thomas Cole's painting "The Architect's Dream" (1840, oil on canvas) housed in the Toledo Museum of Art.
1,410 words (approx. 5.6 pages), 4 sources, APA, $ 46.95
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Abstract
This paper explains that the painting "The Architect's Dream" by American artist, Thomas Cole, masters historical perspective by combining structures from several epochs--Egypt, Greece, Rome and Europe--within the confines of a simple painting, thus depicting the evolution of architecture. The author points out that Cole, who was the founder of the Hudson River School, a group of artists that followed the style of American romanticism and realism, filled the landscape of this painting, accurately and in detail, with human structures of each age. The paper concludes that this piece of art from the romantic times is not so much a history lesson as it is a story of human ingenuity and spirit, which praises man's triumphs throughout the ages by giving tribute to the beauty of history's great accomplishments that still inspire humankind today.
From the Paper
""The Architect's Dream" is a large painting, about 8 feet long by 6 feet tall. Just looking at the different buildings throughout the eons is very enthralling. And so, I stood in front of this painting for at least ten minutes just taking in the sheer power of it. I imagined what it would look like IF someone actually built a city like the one Thomas Cole painted. I could see the romanticism in the expression on the Architect's face as he lays relaxed and wondering about his strewn books. I put myself in his position and tried to imagine looking upon such a dream city, but in reality."
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"Joan of Arc" Painting, 2007.
This paper offers a critique of Jules Bastien-Lepage's painting "Joan of Arc".
1,200 words (approx. 4.8 pages), 1 source, MLA, $ 41.95
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Abstract
In this article, the writer discusses that the "Joan of Arc", painted by the French artist Jules Bastien-Lepage, during the Impressionist era in 1879, reflects the artist's belief that art should depict nature's truth. The writer points out that Bastien Lepage's views, which made very specific and clear observations about existence and life, made his work both distinctive and unique. This essay critiques Jules Bastien-Lepage's 'Joan of Arc' through analyzing the painting's composition, which included line, form, balance, repetition, and focal point. Some discussion is then given to the artist's use of color and texture, while reflecting on the suggestion of space. Finally, the paper concludes with a personal consideration of this 19th century masterpiece.
Outline:
Introduction
Joan of Arc - A Mystic Euphoric
Conclusion
From the Paper
"When first viewing this picture, it would that Jules Bastien-Lepage created a realistic scene: A beautiful stone cottage, so typical of those throughout the French countryside, which is surrounded by a delightful working garden filled with fruit, vegetables, and flowers. Towards the left side of the painting, stands an old, gnarled apple tree, while to its right, stands a young peasant girl. Behind her, however, and just in front of the cottage, hovers the supernatural presence of three spiritual beings. Their transparent bodies almost blending with the cottage walls and the garden, they stare down at the young Joan of Arc, who, it would appear, is listening to something."
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?Large Bad Picture?: Positioning the Painting, 2005.
Examines the role of the painting in ekphrastic poetry, using Elizabeth Bishop's poem, "Large Bad Picture" as an example.
1,870 words (approx. 7.5 pages), 3 sources, MLA, $ 59.95
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Abstract
This paper examines the role of paintings in ekphrastic poetry (the rhetorical description of a work of art). It shows how Elizabeth Bishop makes her fictional painting 'real' through her poem, "Large Bad Picture". It presents a comparison between "Large Bad Picture" to W.H. Auden's "Musee des Beaux Arts." The paper also provides an examination of how Bishop divides her poem between setting the scene and then delivering the poem's argument.
From the Paper
"Having settled her reader comfortably, Bishop then takes the next two stanzas to describe in clear, precise language the subject of the painting. In one long sentence enjambed over two stanzas, she describes the sunset, the span of high blue cliffs and the small caves that dot their base. The final line of the third stanza returns the reader to the title describing the caves that riddle the cliffs as being "masked by perfect waves." (12). Her description of the waves as being "perfect" give the first hint of her contention that this is a bad picture. The reader begins to understand that this composition, while possibly well executed, is unrealistic, that the painter has seen perfection in natural phenomina that are inherently imperfect and organic."
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History of British Painting, 2002.
Examines the history of British painting in the 1900s and assesses some of the works of English artists of that period.
2,650 words (approx. 10.6 pages), 7 sources, $ 97.95
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Abstract
This research paper examines and analyzes the history of painting in the twentieth century in the British Isles. The work of English artists such as Roger Hilton, Terry Frost, Adrian Ryan, Stanley Spencer, Victor Pasmore, and Laurence Stephen Lowry are assessed.
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Digitally Enhanced Painting, 2005.
A paper looking at the various aspects of digital painting enhancement.
2,025 words (approx. 8.1 pages), 10 sources, MLA, $ 71.95
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Abstract
This paper explores the various aspects of digital painting enhancement from ethical concerns to techniques. The paper looks at how digital enhancement allows the artist to go beyond the limitations of the brush, bringing a new dimension to art. The paper contends digital enhancement should be considered as just another tool for the artist to use.
From the Paper
"Every time technology moves ahead, invading the world of art, we are presented with exciting new opportunities along with difficult challenges. Such is the case with the advent of digitally enhanced painting. Digital enhancement allows us to push the envelope, invent new forms of expression, add rich dimension to old forms and step into the refreshing world of the unexplored. Although digital enhancement is resisted by some people for what are probably excellent reasons, it is embraced by others for reasons just as laudable..."
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Prometheus: Painting and Myth, 2002.
The representation of the mythical story in the painting "Prometheus Bound".
1,030 words (approx. 4.1 pages), 5 sources, MLA, $ 36.95
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Abstract
This paper discusses the work, from the Baroque Era, of Peter Paul Rubens, whose "Prometheus Bound" is seen as one of the finest examples of a myth being used to tell a contemporary story. The meaning of the myth is examined through an analysis of the painting's light, form, style and images.
From the Paper
"Myths are the stories that lend meaning to the unexplained. Why does season follow season? How did humanity come to be? What is the origin of fire? These are but some of the mysteries explained in countless tales, plays, and works of art. Medieval man sought meaning in the Bible. The cathedrals of Europe glistened with windows of stained glass, each jewel-like work telling a different instructional tale. In the Renaissance, Europe rediscovered the world of Greece and Rome, and the learned found new meanings in classical myth and legend. Kings and princes likened themselves to gods and heroes, and artists explored the interplay of fantasy and reality. Mythic stories were used as illustrations of the human condition. In brilliant color and bold form, painters captured the heart and soul of their world, the figures of myth and fantasy serving as representations of popular belief. This age of allegory reached its height in the Baroque Era, the era of Peter Paul Rubens, whose Prometheus Bound is one of the finest examples of a myth being used to tell a contemporary story. It is also an image of the entire Baroque world."
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Dutch 17th Century Painting, 2002.
A look at the domestic heroine and the love-sick maiden in Dutch seventeenth century painting.
2,400 words (approx. 9.6 pages), 19 sources, $ 89.95
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Abstract
This ten-page undergraduate paper examines and analyzes images of the domestic heroine and the love-sick maiden in Dutch seventeenth century painting. Domesticity and female complaints are contrasted as they are presented in selected works by seventeenth century Dutch genre painters such as De Hooch, Steen, Maes, and Vermeer.
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