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The Greek Art of War, 2005.
Application of Sun Tzu's 'Art of War' to Xerxes' invasion of Greece.
2,305 words (approx. 9.2 pages), 5 sources, MLA, $ 71.95
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Abstract
This paper presents an examination of the military strategy employed by the Greek and Persian armies during Xerxes' invasion of Greece in the 4th century BC. Sun Tzu's 'Art of War' is used as the basis for analysis and critique of the strategies employed by both sides. The paper discusses two major battles during the invasion- Thermopylae and Plataea.
From the Paper
"More than two thousand years ago, a Chinese strategist known as Sun Tzu wrote one of the enduring classics of military theory. Most likely written during a period of Chinese history referred to as the 'Warring States' period, Sun Tzu's The Art of War has continued to be studied by military strategists for millennia. Even today, The Art of War is required reading for Naval Officer Candidates. At nearly the same time in the fourth century B.C., the Greek city-states were facing invasion from the mighty Persian army. Vastly outnumbered, the Greeks eventually triumphed by defeating their enemies at Plataea, but not before fighting one of history's greatest military stands at Thermopylae. By using Sun Tzu's classic text to analyze the battles of Thermopylae and Plataea, it is possible to gain a better understanding not only of the battles themselves, but also of the reasons why The Art of War has remained such an influential and respected text over the centuries."
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Greek Art, 2002.
An analysis of the ancient era of Greek art, focusing on sculptures and paintings.
878 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
This paper briefly examines the history of ancient Greek art. It focuses on several periods - Archaic Period, Early Classical Period, Golden Age, Late Classical Period and Hellenistic Period. Different types of art forms are discussed and examined how they developed during these periods. The influence of other cultures on Greek art is also analyzed, namely Middle Eastern and Egyptian.
Outline
I. Introduction
A. History
B. Cultural influence
II. Archaic Period (600-480 B.C.)
A. Egyptian influence
B. Middle Eastern influence
III. Early Classical Period (480-450 B.C.)
A. New humanism led to balanced human form
B. Marble and bronze figurines
IV. Golden Age (450-400 B.C.)
A. Temples of the Athenian acropolis
B. Parthenon sculptures
V. Late Classical Period (400-300 B.C.
A. Expression of emotion
B. Individualization and three-dimensional movement
VI. Hellenistic Period (323-31 B.C.)
A. Nike and Aphrodite
B. Terra-cotta figurines
VII. Conclusion
A. Importance of masterpiece copies
B. Influence of Greek culture
From the Paper
"The earlier great cultures of Egypt and the Near East were making art long before the Greeks and much of the early Greek art looks Egyptian, with its stiff and profiled poses and boxy geometric designs. Moreover, the Greeks borrowed the ideas, motifs, conventions, and skills from these earlier civilizations (Tansy 1996). However, it was the Greeks who made the leap into naturalism and in their representations of the human body created an ideal of perfectly balanced proportions that has never been improved upon. Although, we often speak of Greek and Roman in the same breath, the greatest accomplishments of Greek art were five centuries old by the time the Romans began to copy them. "
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The Evolution of Greek Art and Architecture, 2005.
Examines the distinct periods in ancient Greek art, architecture, and sculpture.
1,623 words (approx. 6.5 pages), 4 sources, MLA, $ 52.95
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Abstract
Ancient Greek art, architecture, and sculpture have fascinated spectators ever since their discovery. However, while the uninformed viewer might perceive of ancient Greek art, architecture, and sculpture as forming a single period in art history, marked by different styles, art historians have divided it into distinct periods. The paper looks at each of these periods: the Geometric, the Orientalizing, the Archaic, and the Classical, which are explained in terms of how differing philosophical beliefs, historical event,s and cultural developments impacted art, creating different and distinct styles. In specific reference to sculptures, the paper shows that the different styles characterizing each period express different artistic aims as regards to representation of the human body.
From the Paper
"In direct contrast to this archaic statue is a classical one on the east pediment of the same temple. It is calculated that only about a decade separates these two works but, artistically speaking, ages separate them in terms of development of style and form. In this statue, also of a dying warrior, the figure "reacts to his wound as would a flesh-and-blood human. He knows that death is inevitable, but he still struggles to rise once again. And he does not look out at the spectator. He is concerned with his pain, not with us" (Tansey and Kleiner 139). This is definitely a much more realistic picture of a man who is dying from a painful wound."
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Ancient Greek Art, 2004.
This paper discusses ancient Greek art in the period between about 580 B.C. and 450 B.C. with examples of pottery and statues from this period.
2,250 words (approx. 9.0 pages), 3 sources, MLA, $ 69.95
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Abstract
This paper explains that during this period both deities and ordinary mortals were depicted, but there was no homogeneity of technique, which ranged from a very natural and sculptural pottery in amphorae to a more studied and artificial style. The author points out that three of the objects represent tools. The amphora stored wine, the lekythos was used during religious ceremonies, and the krater was used to serve punch made from wine. The paper relates that, unlike the amphora, the lekythos style has only one handle, a more slender neck than an amphora, with a wider mouth, and probably held oil or perfumes, a claim that is advanced because they were often found in and around tombs that were excavated from ancient homes.
Table of Content
Background
Pottery
?The Bateman Amphora ?
?The Dipylon Amphora?
?Douris Lekythos?
?Bell Krater?
Statues
?Athlete Making an Offering?
?Kouros?
From the Paper
"A late example, this torso--which is all that is left?is actually less well modeled than the "Athlete". The belly and rib cage, in fact, appear to be stylized, almost abstract. It may be that the work has weathered. But probably, the more geometric, and less curvilinear, detailing on this statue was the result of a transition between the drapery and highly stylized posing of earlier eras, including the ?dark times? and the early Archaic period, to the more abundantly natural depictions of the statuary of the Classical period. Kouri, which means ?youths,? was an art form that didn?t last very long, only about a hundred years. It is thought, nonetheless, that they represented gods, warriors and, of course, athletes."
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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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Greek Art, Architecture and Literature, 2002.
A look Greek culture as effected by art, architecture and literature.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper discusses the basic themes of Greek artistic endeavors, such as individualism, rationalism, and humanism, and analyzes how Greek art, architecture, and literature reflected the society in which they were created.
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Iconographic Representation in Greek Art, 2008.
An analysis of the ancient Greeks' representation of their gods.
1,560 words (approx. 6.2 pages), 3 sources, MLA, $ 51.95
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Abstract
This paper examines the representation of gods in Greek art, and the very rigid patterns and canons that had been imposed by the masters of the past. The paper holds that those rules were followed religiously by art pupils, who learned the crafts to continue traditions. This is one reason why artistic representations of gods and goddesses show very similar features and obey to the same anatomical rules of body structure and proportion. The Greeks believed that the gods were perfect and their goal was to represent this perfection by finding the key to flawless harmony of features and lines. The paper argues that this created some troubles in representing a vast range of deities, since they all looked alike for following the same anatomical rules. The paper concludes that Greek representations of gods or heroes usually present only the best part of those characters, even if sometimes placed in human positions, with weaknesses, adversities and frustrations.
From the Paper
"In Greek mythology Aphrodite was the goddess of love, lust, beauty and femininity. Although modern culture often refers to her as 'the goddess of love' it is important to state that ancient Greek conception of love was different from our days. The spiritual, romantic meaning of love, given by Christianity, is not what her power refers to. She is the goddess of sexual love."
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Greek Art, 2004.
A discussion on the role of art in ancient Greece.
690 words (approx. 2.8 pages), 4 sources, MLA, $ 23.95
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Abstract
This paper contends that for ancient Greeks, perfection existed in the natural world, a world that had been created by the gods. It explains the task of the artists, therefore, was not to improve on nature, but to attempt to capture and preserve the beauty that surrounded them. It highlights that this basic philosophy informed all genres of Greek art during the classical era and was especially evident in Greek sculpture.
From the Paper
"For Greeks, perfection existed in the natural world, a world that had been created by the gods who were themselves perfect and who had imbued the world with a harmony that was just and right. The world was in and of itself perfect and the task of the artist was ..."
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Greek Art and Sculpture, 2002.
An analysis of how nudity was a fact of ancient Greek daily life and how the art--statues-- reflected the Greeks? acceptance of it.
1,828 words (approx. 7.3 pages), 20 sources, MLA, $ 58.95
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Abstract
The following paper examines how all Greek sports, even the Olympic events, were performed in the nude. This paper examines how nudity in and of itself wasn?t the purpose of the art, but was used to best represent the images. The writer explores how women were banned from the Olympics because it was held in a sacred area. This paper also explores how the the nudity in sports gave sculptors a reason to study the human body more closely, and its proportion and movements. The writer traces back early attempts to capture the human form and examines how over time, nude sculptures became smoother and more realistic, while still adhering to the quest for the ideal.
From the Paper
"Even though sculptors eventually worked out the proportions in their work. the Greeks were not known for experimentation with style. Once they found an image that was pleasing, they tended to stick with it. The typical male statue, the Kouros style, had a very distinct pattern that was followed: ?The figure stands erect and strictly frontal with his left leg advanced, his arms tense at his sides with fists clenched. Details are represented with strength and simplicity. The eyes are big and almond-shaped, the ears large and so carved as to form a kind of decorative adjunct; the essential parts of the body are clearly defined and subject to an established canon of proportions, while muscles and bones form surface patterns on the marble. The work already has those qualities of grandeur and proportion which characterize all the best Greek sculpture throughout its history.? (Carver) The male form was the highest level of ideal beauty."
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Greek Art and Architecture, 2002.
Discusses the changes which took place in funerary art and architecture of the ancient Greeks.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
In funerary art, the Greeks from the Geometric period in the 8th century through Hellenistic times seem to go from the heroic and noble to the sentimental and mawkish. Is funerary art a clue to the emotional development of a people?
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The Cyclades and Greek Art, 2007.
This paper examines the archaeological evidence of the Cyclades, as well as later Greek works.
2,671 words (approx. 10.7 pages), 13 sources, MLA, $ 80.95
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Abstract
The paper analyzes the artifacts found from the Cyclades sites and pottery from the same region. The paper describes how the style of the Cyclades statuettes fits with other works from different parts of the near east and shows how it influenced later classical Greek and Roman sculpture. The paper discusses the many shifts in aesthetic viewpoint in this century, when art was redefined in terms of the existing social relations and prevalent aesthetic ideas. The paper also looks at the geometric style in Greece and the relationship of art, mathematics and computer technology today.
Outline:
Introduction
Findings
Pottery
Developments
From the Paper
"The Cyclades are a group of islands in the Aegean Sea where neolithic burial sites have been found. The figurines found tend to be stylized and abstract in form (Fiero 8). The clay figurines in this culture are in place of the neolithic idols made of clay from other regions. The marble quarried on these islands made it possible for the workshops of the culture to flourish. Products made by artisans on the Cyclades made their way to Crete and also to the mainland. Most of the statuettes are naked female figurines with their arms crossed over the abdomen, and they are generally not designed to stand erect."
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Greek & Roman Art & Architecture, 1989.
Discusses Greek form vs. Roman space in architecture and idealism vs. realism in sculpture.
1,350 words (approx. 5.4 pages), 9 sources, $ 47.95
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From the Paper
"Greek and Roman art and architecture were both innovative and distinguished by features which can be compared and contrasted. In both cultures the major trends in art and architecture were set in their respective archaic periods. However, the comparison and contrasting of both are best restrained to the more mature periods of each society.
Classical Greek art begins around the Fifth Century B.C. During this time the Greeks had consolidated their military victories by ousting the Persian invaders, reduced civil unrest by removing the old kingships and replacing them with oligarchies and democracies, and limited the mercantilism of the Greek poli or city.states (Greer 66-69). In terms of art and architecture, however, it should be remembered that Greek art was largely commissioned by the demos of relatively small cities (...)"
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The Greek Civil War, 2008.
A discussion of the Greek Civil War and its devastating effects on the nation, as well as its significance in the international geopolitical realm.
1,550 words (approx. 6.2 pages), 8 sources, MLA, $ 50.95
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Abstract
The paper discusses the Greek Civil War which, in one form or another, ravaged Greece from roughly 1942 to 1949. In particular, the paper looks at the human and social toll of the war and also the geopolitical and international dimensions of the conflict as it raged on contemporaneously with the Second World War and then, later, with the early years of the Cold War. In the final analysis, the Greek Civil War exacted a terrible toll upon the people of Greece while, at the same time, made Greece one of the "hot-spots" in a much larger war between the world's two reigning superpowers.
From the Paper
"From a social point-of-view, the Greek Civil War was a tragedy to the people of that land. The war tore apart families, razed villages, literally wiped out some communities, and tore at the fabric binding together Greeks of all political persuasions. More than that, the Greek Civil War, in the years from 1946 to 1949 when the conflict was at its worst - featuring as it did brutal and unrelenting warfare between the communist-controlled Democratic Army of Greece and the British and US-backed Greek National Army - about 80,000 people were killed and approximately 700,000 were forced to flee their homes - all this in a nation of only seven million souls (Clogg, 164). During the final phase of the war, in the late 1940s, Greek citizens residing in Northern Greece - especially along the Albanian and Yugoslavian borders - saw their villages over-run by government forces during the day and by partisans during the night. Furthermore, the Royal Greek Air Force bombed these communities at the same time as inhabitants were forced into the Democratic Army. Needless to say, many of these communities never recovered, with those civilians who survived the bloody warfare escaping to Europe or to North America to find better lives for themselves (Danforth, 174)."
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Greek Civil War, 1991.
This paper reviews the national and international causes of the Greek civil war, events leading up to war, motivations of communist guerillas and Western-backed government and the outcome.
2,250 words (approx. 9.0 pages), 8 sources, $ 79.95
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From the Paper
'The Greek civil war was, in many respects, the first episode in the Cold War; the first of many civil wars in the less-developed world between Communist movements and Western-backed governments. It was thus the first "test case" for the U.S. struggle against Communist guerilla movements in the Third World.
The civil war actually began in the Greek countryside nearly two years before World War II itself ended, as rival resistance movements clashed. At the beginning, the supporting power on the Western side was Britain, not the United States--indeed, the United States held itself sharply and critically aloof from British policy in the early phases of the conflict . The Soviets, for their part, seem never to have taken an active part.
But by 1947, Greece would become the centerpiece of the ... "
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