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Venetian Painters, 2004.
An analysis of the application of color by the Venetian painters Titian, Tintoretto, and Veronese.
1,364 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper examines how, in the 16th century during the height of the Italian Renaissance, the art that was created in the city of Venice symbolized a strong, independent, and influential school all its own, which was touched only very slightly by the ideals and fashions of Mannerism that swept Western Europe. It looks at how, within this highly independent school, numerous painters emerged as a group to set the precedents of Venetian art. In particular, it studies the utilization of color in the works of the artists Titian, Tintoretto, and Veronese.
From the Paper
"As most art historians and scholars would heartily agree, Titian, the quintessential Venetian painter, consistently provided the basic framework upon which he explored and utilized color to its utmost limits. By brushing on his colors layer after layer and building up structures within the pigments, Titian produced "brilliant depths, lights and darks that seem to glow from within the canvas, and the flesh of his figures takes on the tone and illusion of true life." 4 Yet as an artist, Titian was also doing something else, namely that he was organizing masses of color on his canvases that in the end were always extremely exciting to behold."
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Early American Painters, 1993.
Discusses the lives and histories of several early American painters, including John Trumbull, John Blake White, Samuel F. B. Morse, Albert Bierstadt and Winslow Homer.
2,700 words (approx. 10.8 pages), 4 sources, $ 95.95
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From the Paper
"John Trumbull:
John Trumbull, a colonel in the Revolutionary War, was the son of a distinguished scholar and governor of the state of Connecticut during the revolution. In the war, Trumbull used his skills as a draftsman by drawing plans of various works in which the army was interested. After his time in the army, Trumbull went to Europe to continue his studies of painting. Beginning in 1783, he studied day and night with Benjamin West in London. Under the tutelage of West and John S. Copley he devoted himself to art as a profession (National Cyclopedia 334).
Later, Trumbull would be considered the painter of the Revolution. In his early works, he painted subjects from Greek and Roman history, but he soon abandoned these in favor of contemporary history. His first such works were "Death of ..."
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16th & 17th Cent Baroque Painters, 1996.
Major works, themes & styles of Judith Leyster, Lucas van Leyden, Quentin Metsys & others, focusing on moralistic depictions of brothels & prostitution.
2,250 words (approx. 9.0 pages), 8 sources, $ 79.95
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From the Paper
"The Baroque era in art was a manifestation of seventeenth-century life. It was expressed in different ways in different regions. The Baroque was the child of the Renaissance and was in part the result of a religious crisis brought about by the Renaissance emphasis on beauty and humanity:
It did not raise hopes of eternity nor promise everlasting glory to the poor to compensate for their earthly lot. The limitation of its message partly explains why the religious crisis came to a head, leading both to the birth of Protestantism and to the efforts of the Catholic Church to reorganize itself as the Council of Trent. Baroque. . . became the interpreter of the Catholic Church. . ."
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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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Cindy Sherman & Italian Baroque Painters, 1999.
Compares History Portrait Series (1989-1990) of American photographer with works by Caravaggio & Gentileschi of 16th Century. Anaylzes themes of style, content, artist as model, meaning, gender and human suffering.
3,150 words (approx. 12.6 pages), 6 sources, $ 111.95
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From the Paper
" This study will examine the relationship between the photography of Cindy Sherman, specifically a number of the works from her "History Portraits Series" of 1989-1990, and selected works of the Italian Baroque painters Michelangelo Merisi de Caravaggio and Artemisia Gentileschi of the late 16th and early 17th centuries. If one considers these three artists in terms of the evolution of a single vision, moving from Caravaggio through Gentileschi to Sherman, one can more easily see the relationships between and among their works. The thrust of this study will focus on such an evolution, from the traditional "masculine perception" (Garrard 4) of Caravaggio to the "special mixture of masculine and feminine elements" (Garrard 7) of Gentileschi to the radically humanist and subversive work of Sherman. Although Sherman, the focus of this study, expropriates the style and.."
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Pablo Picasso, 2005.
An overview of the life and art career of this famous painter.
1,010 words (approx. 4.0 pages), 5 sources, MLA, $ 35.95
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Abstract
Pablo Picasso, one of the most famous artists in the history of art, was greatly concerned with social justice and the condition of man, becoming a self-avowed communist early on. This paper shows that Picasso continued to produce works of art throughout his lifetime, frequently returning to basic themes to which he continually brought new insights and methods of conveyance. The paper shows that by the time of his death at age 92, Picasso had left an indelible mark on the world of art, ensuring his place in history.
From the Paper
"During his lifetime, Picasso went through a number of developmental stages including his aptly named blue, rose and Negro periods. Picasso borrowed artistic elements and gained artistic influence from varying persons and cultures, bringing them all together to create something that was uniquely his own. With Georges Braque, Picasso is credited with founding the cubist movement, in addition to being the originator of collage artwork. Picasso worked in a wide array of artistic mediums, with a seemingly boundless range and reach. While many of the themes Picasso addressed in his artwork were similar to those seen in classical painting (portraits, still lifes, landscapes, literary themes, old masters, love and death, joy and suffering, etc.) he is credited with having paved the way for art to move toward the more abstract, subliminal and subconscious. Picasso broke down convention, creating something new and revolutionary to take its place."
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Thomas Cole: American Painter., 2002.
This paper focuses on the life and work of Thomas Cole.
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
Cole was one of the very few painters who gained world fame and recognition for their landscapes. The painter hails from England, but since he stayed in America for most part of his life, he was always known as an American painter. Cole was not only inspired by nature but his work also reflects an interest in poetry and literature.
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"William Marshall: Knight-Errant, Baron and Regent of England" by Sidney Painter, 1992.
A critical review of the biography of the 12th century English leader.
2,250 words (approx. 9.0 pages), 1 source, $ 79.95
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From the Paper
"The purpose of this research is to examine a modern biography of William Marshal, an aide to the Plantagenet royal line in England in the medieval period. The plan of the research will be to set forth the context in which the biography is presented, and then to discuss the details of the life and the biography with a view toward suggesting the significance of the instant work, as well as what it may reveal about the historiography of the late twelfth and early thirteenth centuries.
As biographer Sidney Painter points out in his introduction, the mode of biography as a means of elucidating medieval history is rare. The reason for this is the paucity of primary (and for that matter secondary) contemporaneous written sources. Nevertheless, Painter's method of assembling the biography has..."
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Italian Painter Paola Veronese, 2001.
Overview of Venetian School and Renaissance painting. Analysis of Veronese's 16th Century painting, "Mars & Venus United by Love." Color, themes, composition, structure.
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
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From the Paper
"Paolo Veronese (1528 1588) was an Italian Renaissance painter and one of the great masters of the Venetian School. He was born Paolo Caliari in Verona but was called Veronese for his native city. The conservative local tradition of Verona remained fundamental to Veronese's style throughout his career. In his early works, Veronese combined elements of the local High Renaissance style with elements of mannerism, which included complex compositional schemes that often employ a so called worm's eye view perspective. He also used figures reminiscent of those of Italian artist Michelangelo. In 1553, he moved to Venice, where he blended brilliant, luminous contrasting hues in the Veronese tradition. His compositions often involve multileveled settings and dramatically steep perspectives. Veronese was seen as a master of the use of color..."
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The Power In The Painter's Brush, 2002.
Argues that images in paintings are sometimes more powerful than words.
925 words (approx. 3.7 pages), 9 sources, MLA, $ 32.95
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Abstract
This paper deals with the power of images vs. the power of words. It analyzes two paintings, "The Scream," by Edvard Munch and Goya's "Saturn Devouring His Son", as examples of the power of images. The paper also includes copies of the paintings.
From the Paper
"This piece was painted at the end of Goya's life, thus it's classification as one of his "Black Paintings." "In this work, Goya followed Rubens, but went far beyond his source in the expression of bestial rage" (Wilson-Bareau 53). Rubens is Peter Paul Rubens, a very famous and well-known painter from the 15-1600's, who style was closely studied by Goya. But that term, bestial rage, sums it up very well. "The theme of Saturn undoubtedly plays an essential role in the conception of the 'black paintings,' as a symbol of melancholy and destruction" (Gassier 318). And that is just what this painting is...pure melancholy, destruction, bestial rage, pain, suffering, and above all else, powerful enough to not need words."
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Thomas Cole, Painter, 2002.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
Thomas Cole was trained as an engraver of the woodblocks used for printing calico. In 1823, Cole followed his family to Pittsburgh and began to make detailed and systematic studies of that city's highly picturesque scenery, developing a procedure of painstakingly detailed drawing. Cole's rapid rise to fame in the early 19th century marked a sudden shift in American taste. With the emergence of Cole, landscape rather quickly supplanted figure painting as the most important expression of American artists, a position it retained throughout most of the 19th century.
From the Paper
BAD ABSTRACT: ABSTRACT IS NOT AN ABSTRACT
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Van Gogh - The Man and His Paintings, 2002.
A paper which discusses the painter Vincent Van Gogh and several of his art pieces.
1,640 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
The paper provides a brief biography of the life of Vincent Van Gogh, famous Dutch painter. Thereafter, it reviews four of his most famous paintings, "Self Portrait, 1886", "The Potato Eaters", "Starry Night" and "Wheat Field with Crows".
From the Paper
"This final painting is arguably one of van Gogh's most disturbing. He shows three roads moving into a wheat field. It isn't clear where any of them go. The roads may represent the different directions in which his mind was torn: sanity, insanity, and religion. The sky is active and stormy, and black crows swoop along close to the ground. Many would interpret the crows as symbols of death. There seems no sense of hope in the three opportunities the roads give, and no indication that traveling one would be more satisfying than another. This seems to be true of van Gogh's life: during his periods of sanity he was not successful at most things he attempted, including multiple attempts to develop a satisfying religious career. His religious beliefs seem to have brought him no lasting peace because of the bouts of insanity when his behavior became irrational and even bizarre."
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Artist Frida Kahlo, 2004.
This paper discusses the legendary Mexican artist, Frida Kahlo, sometimes called a surrealist painter, Communist, and inspiration for one of the greatest painters of the 20th century, Diego Rivera.
2,605 words (approx. 10.4 pages), 8 sources, MLA, $ 78.95
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Abstract
This paper explains that Frida Kahlo's physical suffering definitely stimulated her spiritual side as images came into her mind and then appeared in her paintings, similar to many physically handicapped artists, such as Toulouse-Lautrec. The author claims that the biography of Frida Kahlo, as written by Hayden Herrera, is perhaps one of the most interesting and complete stories about someone's life that has ever been written. The paper contends that Kahlo is a type of traditional artist, called Mexicanism, which she embraced throughout her lifetime as a result of the Mexican Revolution of 1910 that resulted in a wave of nationalism throughout the country and prompted a new pride in traditional Mexican culture.
Table of Contents
Background Information: Biography and Reputation
Synopsis of Hayden Herrera's "Frida: A Biography of Frida Kahlo"
Objective Critique
From the Paper
"Frida Kahlo was born on the 6th of July 1907 in Ciudad de Mexico as the third daughter of William Kahlo and Matilda Calderon. Her complete name was Magdalena Carmen Frida Kahlo Calderon. Her life was struck by misery ever since the beginning: in 1913, when she was six years old, she contracted poliomyelitis and her right leg was affected, appearing much thinner than the other throughout her life. She entered high school at the National Preparatory School, where she soon turned out to be the leader of a prank-oriented group of rebel teenagers. It was here that she came in contact with her future husband and soul mate, Diego Rivera, perhaps the greatest Mexican muralist who, at that time, was commissioned to paint a mural in the school auditorium."
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Baroque Art, 2006.
This paper compares two painters who used the Baroque style of art.
1,086 words (approx. 4.3 pages), 4 sources, APA, $ 37.95
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Abstract
The paper discusses how the Baroque style dominated art and architecture throughout Europe in the 1600s. The paper defines this style as having a dramatic use of light. The paper compares the works of Caravaggio and Rubens and concludes that while both painters have succeeded--in the Baroque style--at depicting a portion of the passion of Christ, they have differences. Caravaggio is more firmly planted in the style of his time, evoking strong emotion with relatively simple, if dramatic, depictions whilst Rubens decorates the scene more than transporting the viewer into the emotion of the event depicted.
Contents:
Introduction
Caravaggio and Rubens
Conclusion
From the Paper
"The Baroque style dominated art and architecture throughout Europe in the 1600s, lasting in some places until about 1750 (Encarta, database online). The origin of the word is not certain. Some believe it was derived from the Portuguese word barocco or the Spanish word barueco, a word that referred to an irregularly shaped pearl (Encarta database online.) It should be remembered that pearls, baroque or otherwise, were only brought to Europe during the age of exploration, which slightly preceded what came to be called the baroque period of art. Baroque--or irregularly shaped--pearls would have been looked upon as doubly exotic and very dramatic, so it is not difficult to imagine the term being applied to art that was increasingly dramatic, even if the subject matter was not; the baroque painters had an affinity for Biblical subjects."
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Painted Portraits, 2001.
This paper discusses the work of American painters Cecilia Beaux and John Singer Sargent.
1,530 words (approx. 6.1 pages), 7 sources, MLA, $ 50.95
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Abstract
This paper explores the works and styles employed by Cecilia Beaux and one of her teachers, John Singer Sargent. It gives a brief personal history of each painter and their early influences. It further explores their unique styles, for Beaux, it was based on French impressionism and color, and Sargent's ability to portray essence. Finally this paper attempts to show why portraits remained popular during a time in which photography was widely used.
From the Paper
"One of the reasons that Beaux and Sargent were popular painters even in an era in which portraiture was becoming more and more the domain of the photographer was that while portraits have always been made to serve as keepsakes and visual memoirs, they have also always served other functions as well, perhaps the primary of these being to mark the social status of the subject. Portraits by their very nature never be mass-produced but must also be commissioned. This means that they are expensive, requiring someone to be able to pay an artist to devote all of her or his skills and time to the subject alone. Thus portraits have always served as a proxy, a marker of high status."
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