| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "HISTORY BRITISH PAINTING": |
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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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Buddhist Painting of the Koryo Period, 2002.
An overview of the artists and the paintings of the Koryo Period of Korean history.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper is on Buddhist Painting of the Koryo Period. The Buddhist painting of the Koryo period in Korean history (918-1392) reveals much of the complex history ties between the Buddhist faith and the Korean people. The artists, and the works that they created, will be the focus of this paper.
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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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A History of Christianity, 2005.
This paper presents the history of Christianity, emphasizing art history, in a thumbnail sketch of each period.
3,740 words (approx. 15.0 pages), 6 sources, APA, $ 103.95
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Abstract
This paper explains that Christian art, evolving along with the church, began in the Near East, which was a vast religious and cultural melting pot where all the competing faiths, including Judaism, Christianity, Gnosticism and many others, tended to influence each other. The author points out that the oldest sizeable and coherent body of Christian art, which can be traced to no earlier than 200 AD, is the painted murals in the Roman catacombs and the underground burial places of the Christians. The paper relates that the halo around Jesus' head stems from pagan artists, who used a halo, usually of a gold color, to mark the chief of men and women in their pictures, and from the Romans, who associated it with the cult of light as a special gift from God. Chart. List of illustrations but no illustrations.
Table of Contents
The Early Christian Church - The Jews and the Greeks
Byzantine Art
The Christian Empire
Nuns, Monks, and Priests
Saints and Martyrs
The Virgin Mary
The Halo
The Conversion of the Northern Tribes
The Celts
The English
The Saxons
The Holy Roman Emperor
East Rome
Church of St. Sophia
The Icons, the Iconostasis, and Iconoclasm
Icons
Iconostasis
Iconoclasm
The Mystics
The Effect of Islam
A Comparison of Christianity East and West
Early Christian vs. Byzantine Art
Western Society in the Middle Ages
Popes
Society and Religion
Hell and Purgatory
Gothic Cathedrals and Stain Glass Windows
The Renaissance
Exploration
The Reformation
The Modern Age
From the Paper
"The first celibates in the early Christian church were women who lived lives of chastity and cleaned church buildings. These women also helped tend the sick. Many spiritually oriented celibate males started as hermits but eventually these men grouped together, elected an abbot, and agreed to abide by a set of rules. These first nuns and monks were called Benedictines. Priests were allowed to marry in the early church but the idea of a celibate priesthood was raised as early as 324 AD (Council of Nicene) but this was unenforceable. In the early church, a man could marry before he became a priest and still become a priest. He could not marry if he became a priest before marrying. The ideal of the totally celibate priesthood was not enforceable until the 11th Century. A man who wanted to become a bishop was not allowed to be married.
In the Eastern Orthodox Catholic Church, priests still are allowed to marry before taking final vows."
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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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Song Dynasty Painting, 2006.
This paper details emperor Hui-Tsung's life, not only as an ineffectual leader but as an accomplished artist, specializing in delicately colored bird-and-flower paintings.
4,900 words (approx. 19.6 pages), 26 sources, MLA, $ 124.95
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Abstract
This paper contains in-depth research on the life of emperor and artist Hui Tsung. The author of this paper discusses Hui-Tsung as a sophisticated antiquarian, whose talent and vision became an increasingly important factor in Chinese art. What differentiated Emperor Hui-tsung's painting style and that of the Literati was the emperor's main focus on Taoistic idealistic realism. Numerous historians of art believe that the Northern Sung Dynasty period produced the greatest realistic landscapes in China's history. This extensive paper also covers in detail the different views and aspects on the history of art in China.
Topics covered in this paper include:
Introduction
The Northern Dissident Literati
Su Ch'e
Confucianism and Taoism
Emperor Hui-tsung
Li T'ang
Xia gui
Conclusion
Chinese footnotes
Bibliography
From the Paper
"According to a translation from the German Tripod Mitgdeider Home Page, which includes an anthology of Chinese Poets of the Sung Dynasty, Ou Yang hsiu was an outstanding proselytizer and poet of the ' Northern Sung '. His pen name was Tsui weng, which has been translated as "the old gray drunk". Ou Yang's father died when he was four years old and he grew up in difficult conditions. It is said that his mother taught him reading and he was forced to write in the dirt, having no money to purchase paper. Later he took the civil service exams and became politically active. He belonged to the progressive fan Chung Yen and was eventually deported to a remote area of China. Despite this set back, he devoted himself to transforming the poetry and prose of his period. Although He was a devotee of the T'ang poet and the famous philosopher Han Uye, his work was smoothly elegant and unique having almost a musical quality."
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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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Art in History, 2008.
This paper examines paintings from the Renaissance, Rococo and Impressionist periods.
1,939 words (approx. 7.8 pages), 2 sources, APA, $ 61.95
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Abstract
The paper analyzes the composition and technique of a painting from each of the most notable artistic periods in history; the Renaissance, Rococo and Impressionist periods. The paper develops an understanding of the technical and aesthetic value of these paintings as well as of the respective art movements as a whole. The paper concludes with a personal opinion that impressionism evokes the greatest visual and emotional appeal. There are color images of the three paintings that are examined in the paper.
Outline:
Introduction
Renaissance
Rococo
Impressionism
Conclusion
From the Paper
"Renaissance was a reaction to the Middle Ages and serve as the foundation for the subsequent Baroque period in Europe. Its etymological meaning is "rebirth" of classical antiquity, pertaining to the revival of arts and sciences after it was diminished because of the emphasis on religion. However, it should be noted the majority of the art work where commissioned either for the Church or by supporters of it (Gombrich, 1995). The period also marked the significance developments in artistic technique which included the development of linear perspective, spatial composition and definition of the proportions for human form. The most notable artist of the period includes Leonardo Da Vinci, Michelangelo, Raphael as well as Boticelli who while was briefly eclipsed by the first three artists rose to contemporary regard. However, the Da Vinci, Michelangelo and Raphael have been more specifically associated as High Renaissance artists or for the latter Renaissance arts (Stokstad, 2004)."
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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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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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Islamic Art History, 2005.
A study the influence of Roman Frescos on Islamic Art History.
1,575 words (approx. 6.3 pages), 5 sources, $ 62.95
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Abstract
In this paper, the comparison and contrasting artistic designs involved in both Roman and Umayyad fresco paintings are analyzed. It explains that the earlier Roman designs played a great part in influencing the Islamic peoples to use figural drawing and various decorative natural or organic themes. Much of this is seen within the context of the examples used in the paper, which conveys a large-scale influence of Roman Villa-styled fresco application and artistic design on various Umayyad palaces.
From the Paper
"This art study will examine how the Roman Fresco had influenced the Umayyad perspective on murals and fresco work in their mosaic design and symbolic meanings within these works. By providing examples from the various Umayyad frescoes that now exist in various levels of decay, one can realize how Roman frescoes had a major impact on how these latter works of art were achieved. In essence, this paper is to describe the influences that Roman frescos/wall painting had on Islamic fresco/ mosaic & wall-paintings in art history. The Umayyad choice of Syria as their power base had enormous effects on later Islamic art, as craftsmen from all over gathered together to learn compete and work on Islamic projects. The Umayyad art design was enhanced by the ideas and traditions of imperial Rome, incorporating ..."
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Which Painting to Choose: Corot or Morisot?, 2002.
This paper is an essay by a "curator" who must choose between buying ?First Leaves, Near Mantes? by Jean Baptiste Camille Corot or ?View of Paris from the Trocadero? by Berthe Marie Paul Morisot.
1,670 words (approx. 6.7 pages), 0 sources, $ 54.95
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Abstract
This paper describes the thought process necessary when buying a painting for a museum: ?First Leaves, Near Mantes?by Jean Baptiste Camille Corot or ?View of Paris from the Trocadero? by Berthe Marie Paul Morisot. The author points out that when buying a painting for a public collection, artistic merits, representation of an important moment in art, a step toward the next discovery, subject matter, painting techniques and what the painting represents both literally and figuratively to the buyer are important.The author, after discussing all these elements, selects the Corot: Corot paints the trees with such strong strokes that it takes but a tiny squint test to see that what he has done in composition alone, and this is prefigure to the abstractions of the century to follow.
From the Paper
"In fact, the Impressionists followed him just about the time Morisot painted Trocadero. She was, in fact, an Impressionist, even if she lacked the notoriety of her brother-in-law, Edouard Manet. (She married his brother Eugene.) Morisot had studied with Corot when she tired of the classical approach to painting. But yet, her subject matter is more like the subject matter of classical paintings than is Corot?s.
Morisot has chosen ordinary people, although in a more formal setting than Corot?s setting in the glade. Conceivably, from their dress and the fact that the city of Paris and all its cultural attractions is prominently displayed in the painting, these people are less ordinary?more noble?than those in the Corot work. That puts it a step closer to classical painting."
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A Critique of the Painting Circus, 2000.
A look at Georges Seurat's painting, the "Circus" in comparison to the work of Jean Antoine Watteau.
750 words (approx. 3.0 pages), 3 sources, $ 26.95
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Abstract
This paper critically analyzes Georges Seurat?s the Circus by describing his use of technique, style and composition and by comparing his work to the work Jean Antoine Watteau. The writer describes the artist's use of emotion through symbolism and the artist's focus on positive aspects of life as bringing significant contributions to the world of art.
From the Paper
"Famous pieces, such as Jean Antoine Watteau?s The Italian Comedians, and Georges Seurat?s Circus encompasses several similarities to one another. Through the use of symbolism and technique, they have each made projections of leisure and happiness toward the viewer. Both of these pieces are meant to spark an emotional response through very different methods of artwork."
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