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Industrialization and American Art, 1999.
Examines the industrial revolution and its impact on American artists before and after the Civil War. Discusses themes, socioeconomic aspects, style and major artists.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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Abstract
"The industrial revolution took permanent hold in the United States around 1850 and its influence on American art is felt to the present day. But this influence was quite diffuse and ranged from direct responses to the changing nature of American society to the ability of new wealth to support styles of art that took little cognizance of anything as mundane as industry. In the second half of the nineteenth century America was transformed by its rise to immense power and wealth from a middling nation with limited influence to its twentieth-century position as a world leader. In domestic terms the growth of industry signaled the start of great waves of immigration that changed the ethnic makeup of the young country and it heightened the contrast between agrarian and urban economies.
From the Paper
"The industrial revolution took permanent hold in the United States around 1850 and its influence on American art is felt to the present day. But this influence was quite diffuse and ranged from direct responses to the changing nature of American society to the ability of new wealth to support styles of art that took little cognizance of anything as mundane as industry. In the second half of the nineteenth century America was transformed by its rise to immense power and wealth from a middling nation with limited influence to its twentieth-century position as a world leader. In domestic terms the growth of industry signaled the start of great waves of immigration that changed the ethnic makeup of the young country and it heightened the contrast between agrarian and urban economies that had been a source of conflict since the time of Jefferson. In international terms the ..."
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Native American Art Review, 2002.
This paper analyzes the art review of a Native American art exhibit at the American Craft Museum.
982 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper discusses ?Changing Hands?, an art review of a major Native American art exhibit at the American Craft Museum by critic David Revere McFadden. It opens with an overview of the exhibit itself and its highlights. The review, and the critic?s ?authority? to report on the exhibit are then discussed. Finally, there is a commentary of the effect the critic?s piece has upon one?s desire to view the exhibit.
From the Paper
"Changing Hands, the exhibit features several art forms of Native America. The artists who have displayed their work have given examples of both traditional and more contemporary pieces ? for example a reconstructed earthenware vessel of the type that might have been used centuries ago for water or other liquids. The several art forms shown by the Changing Hands exhibit include wool rug and vegetable dye; gold bracelet work inlaid with larimar, lapis lazuli,sugulited, shell, coral, obsidian and opal; earthenware sculpture; an acrylic collage on wood; glass and copper vase; cottonwood root sculpture; leather beltwork of silver, coral, turquoise, and serpentine; coral necklace with gold and pearls; pendants of gold, wood, silver, coral, turquoise, opal, shell, and lapis lazuli; earthenware canteens and jugs; hinged silver buckles; earthenware tiles of sand, copper, and oil on a wooden panel; sand media on wood."
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The Great Depression and American Art in the 1930s, 2003.
A discussion of Depression Era Art and its impact on the art world.
969 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
By 1933 at the peak of the Depression, nearly 25% of all Americans were unemployed. Under the leadership of President Franklin D. Roosevelt, the country struggled to recover from the recession that became known as The Great Depression. The paper explains that as part of his New Deal program, President Roosevelt enacted many domestic policies and projects to try to rebuild America. Several particular endeavors were designed to keep painters, sculptors, and photographers employed. Because of these projects, artists created many works throughout the Depression. The paper shows that while artist reaction to the New Deal was varied, the works of art that were created expressed individual attitudes about the Depression and left a lasting mark on American art. The paper includes several reproductions of works of art from the era.
From the Paper
"As America sank deeper into the Depression, artists quickly found themselves unemployed. Consequently, they questioned the effectiveness of a capitalist society. In comparing the United States to the Soviet Union, many of the artists came to believe that maybe a socialist system was a better option. They joined many left-winged organizations like the Artists? Union with the common goal of obtaining state-sponsored art initiatives. The group published its own journal, Art Front, which proved to be quite influential. Letters were sent to Public Works officials asserting, ?the State can eliminate once and for all the unfortunate dependence of American artists upon the caprice of private patronage? (Pohl 365)."
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American Art, 2008.
This paper analyzes the American paintings and sculpture exhibition at the Metropolitan Museum of Art.
875 words (approx. 3.5 pages), 3 sources, APA, $ 31.95
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Abstract
This art study examines the American paintings and sculpture exhibit at the Metropolitan Museum of Arts in New York City. The writer notes that the exhibit is formulated around a three-fold objective: portraits, landscapes and sculpture for early American history. The writer maintains that by examining one piece from each of these sections of the exhibit, there can be a diversified analysis of how the pieces are placed into the overall framework of the museum. The writer concludes that these American art exhibits represent a historical view of early American history and stylistics.
From the Paper
"The historical perspective of this painting is recreated in a fictional pose for Washington and his solders as they cross the Delaware to surprise their British and Hessian enemy. This was an important point during the revolutionary war in which Washington gained a growing national and international support for the cause for independence. This aspect of the exhibition directly relates to the patriotic symbolism of the gallery, as it is representative of a collection that define American historical context. The painting is 149 x 255 inches and is placed within one of the large gallery rooms. The need for this is accentuated not only in its size, but for the centrality of its importance for the historical forum that the Metropolitan Museum of art is presenting. This painting is properly placed in the overall architecture of the northeastern part of the Met, since it allows a wide range of visibility and composure for the viewers to understand the crucial place this painting holds in American art history."
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American Decorative Arts, 2006.
A history of the interest in Orientalism in America and its influence on the decorative arts.
2,464 words (approx. 9.9 pages), 10 sources, MLA, $ 75.95
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Abstract
This paper begins with a look at what sparked the great interest in Orientalism beginning with the 19th century and continuing until the 1930s. The paper also describes the influence that Orientalism had on American tastes in decorative arts and explains that this interest in Orientalism was no doubt encouraged by the opening of the Suez Canal which had the effect of providing artists with abundant and seductive new motifs for their work.
From the Paper
"Although Bonaparte had had the idea years earlier, it was in 1854 that the French diplomat, Ferdinand de Lesseps persuaded the Viceroy Said of Egypt to grant him the concession to cut a 100-mile long canal across the isthmus of the Suez. DeLesseps had cultivated the Viceroy Said even when the Viceroy was a young man and De Lesseps was the French ambassador to the Egyptian court" (African Business 2003, p. 64). "The creation of the Suez Canal captured the imagination of people around the world, and its opening in 1869 was a party to end all parties. As the champagne flowed, it was hailed as a symbol of progress that would serve to unite the world. You might even call it one of the first adventures in globalization-an infrastructure project designed to strengthen links between Europe, East Africa, the Middle East and the Orient" (African Business 2003, p. 64). In hindsight, of course, it did not work out as the great peace- and commerce-maker some may have had in mind."
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Art and The Young American Society, 2002.
Examines how the United States used art, sculpture and architecture to develop a new identity after the Revolution.
1,164 words (approx. 4.7 pages), 3 sources, MLA, $ 40.95
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Abstract
The success of the American Revolution meant that the former colonists had to take on the difficult job of building a new kind of nation, with a new style of government, based on ideas about freedoms and rights that had never been tried before. The young country wanted to draw on what was best from its European heritage, but also to distinguish itself from Britain's culture which had been the principal cultural model. The paper shows that in the first century, the United States formally and informally used painting, architecture, and sculpture to carry important messages about the nature of American society and to develop styles that were distinctively American. Examples of two works from each of these branches of the arts demonstrate the variety of ways in which the country's art presented American ideals, promoted American self-confidence and developed an American character.
The works discussed are: Gilbert Stuart's painting "Vaughan Portrait" (1795); Thomas Jefferson's architectural design of the Virginia State Capitol Building (1785-99); the statue "Justice" (1824) by sculptor William Rush; Hiram Powers' bust of General Andrew Jackson (1835); Robert Mills' Treasury Building (1836-42) and Albert Bierstadt's painting "The Oregon Trail" (1869).
From the Paper
"Almost as soon as the Revolution ended painters and engravers began to meet an overwhelming demand for portraits of George Washington and other leaders. In addition to being a major symbol of independence, Washington was also painted as the embodiment of "American virtue, restraint, courage, and strength--in short, of American republicanism" (Baigell 27). Gilbert Stuart, an American who trained in England, produced some of the finest and most popular versions in such paintings as George Washington or the Vaughan Portrait (1795). Stuart showed a rather "patrician and remote" Washington, partly because he trained in the aristocratic portrait tradition in England (Baigell 36). But, as Baigell notes, Stuart was a Federalist who did not approve of the growing popularity of Thomas Jefferson and his more democratic ideals. The Vaughan Portrait also reflects, therefore, "the mood of the Federalist hierarchy, fearful of runaway populism . . . and anxious to fix a national image in the minds of Americans to counter endemic localism" (Baigell 36-37)."
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The Industrial Revolution and Art, 2002.
An examination of the art triggered by the industrial revolution in America.
1,120 words (approx. 4.5 pages), 5 sources, MLA, $ 38.95
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Abstract
This paper discusses how, as a result of a radical restructuring of the society on the economic, social and emotional levels, the industrial revolution inspired the rise of romanticism in American art. By reviewing some famous works of art such as George Caleb Bingham?s "Watching the Cargo", it shows how changes triggered by the industrial revolution led to the discovery of the American landscape and the democratization of art.
From the Paper
"During the late nineteenth century, apart from paintings that imitated European sophistication, the American paintings possessed a folksy quality that attempted to recapture the nostalgic past in response to its destruction by the Industrial Revolution (Lynes 40-41). Thomas Hovenden?s "Breaking Home Ties" was one of the most popular pictures on display at the 1893 fair in Chicago. In this painting, a young man leaves his family and home to seek fame and fortune. In the background are five other distraught relatives living in a wooden house. The impression projected is of a traditional rural household. This painting presents one of the most enduring themes in American folklore and is depicted in American arts (Gowans 242). It is another reflection of the impact of the underlying effects of Industrial Revolution: young people are forced to leave home to seek greater fortunes as traditional occupations can no longer provide adequate income for the household (Garrett 25-27)."
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Industrialism and the Arts, 2002.
A look at the influence of the Industrial Revolution on the arts.
1,400 words (approx. 5.6 pages), 4 sources, $ 53.95
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Abstract
This paper analyzes the effects of the Industrial Revolution on the arts. The Revolution meant that cities would become industrial centers with larger populations and a growing middle class. Society itself would more complex, less personal, and mechanized - many of its traditional philosophical beliefs became questionable. Architects became pragmatic in developing solutions to the new economy created by industry, while artists, who found themselves with new audiences, became more subjective and abstract in their works, often using formula-breaking techniques to reveal the fragmented and often unsettling emotions which marked this era.
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Art and the Industrial Revolution, 2002.
A look at the impact on art of the English Industrial Revolution.
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper will discuss the English Industrial Revolution and discover its impact on art at the turn of the century. By analyzing the many aspects of the revolution such, inventions, artists, and different relationships within this time frame, a better understanding will be made on the effects of this era and it relationship to art.
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Arts and Consumer Culture of African-Americans, 2004.
Study of the culture of African-Americans during the Progressive Era.
762 words (approx. 3.0 pages), 2 sources, APA, $ 27.95
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Abstract
This paper looks at the development of the African-American culture during the coming of the 20th century. More specifically, the paper discusses and analyzes the culture of consumerism and literature of the African-American sector during the Progressive Era.
From the Paper
"The consumerism of African Americans is illustrated by the increased consumption of manufactured goods and services offered in the commercial market. By buying these manufactured goods and services, African Americans perceive themselves as one with the white American society. By subsisting to materialism and hedonism, the black American sector sought to achieve an equal status, establish an egalitarian society in the country, where both white and black Americans co-exist peacefully. Unfortunately, this is just an ?idealistic? view of the consumer culture of African Americans, where material goods represent their ideals for a free and equal society."
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Hispanic American Cultural Diversity, 2005.
This paper explains that, since the early 1600s, Hispanic Americans have influenced many aspects of today's American culture such as art, religion and education.
2,320 words (approx. 9.3 pages), 5 sources, APA, $ 71.95
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Abstract
This paper relates that Hispanic Americans, also known as Latinos, are residents of the United States who can trace their ancestry to countries in the Western Hemisphere where the Spanish language is spoken. The author points out that the Hispanic American community is a mix of subgroups with roots in various countries of Latin America, such as Mexico, Cuba, Puerto Rico, the Dominican Republic, El Salvador, Nicaragua, Colombia, Ecuador, Peru and Panama; many Hispanic Americans are uncomfortable with the term Hispanic American and prefer more specific designations, such as Cuban American or Mexican American, which more clearly reflect their community organization. The paper relates that almost every city in the United States has a Mexican, Cuban or other Spanish oriented restaurants from the corner "Taco Bells" to fancy sit-down cafes; Hispanics American culture has been greatly influenced the clothing industry with brightly colored skirts and dresses and all-cotton Mexican shirts popular style for golf-wear.
From the Paper
"The Spaniards found exotic stories to be very real. They also fed on wild rumors, stories from the Indians and survivors of early expeditions, and the fervid imaginations of explorers on the edge of a strange New World. The possibility of finding cities of gold and gilded kings was given credibility by the conquering feats of Hernan Cortes and Francisco Pizarro. In 1521, Cortes looted the fabulous treasure of the Aztec empire in central Mexico. In 1533, Pizarro vanquished the huge Inca Empire of western South America, centered in what today is Peru, exposing rooms full of gold and silver. These stories not only have become wonderful tales but also have found entry in the United States history books."
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The Industrialization of Spain, 2005.
This paper discusses the history of the industrialization of Spain from the 17th century to today.
1,130 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper explains that Spain came late to the industrial age; never truly recovering from the stinging 17th century loss of its legendary naval Armada at the hands of the British fleet and, by the 1830s, having lost virtually all its colonies, it became the quintessential "stagnant power," sinking slowly from first to second rate and languishing there for centuries. The author points out that, although a limited industrial infrastructure of roads, railways and manufacturing plants was in place, industrial development lagged far behind that of the United States, France, Germany and Great Britain. The paper relates that none of the dramatic changes from industrialization, which often have proven so disruptive elsewhere, has had much impact on Spain's social fabric because ninety-nine percent of the population remain staunchly Roman Catholic and family life is still deeply rooted and a bedrock of support in times of crisis, thus, Spain refuses to be overwhelmed by the so-called hustle-and-bustle of newly urbanized life.
Table of Contents
Industrialization Then
Industrialization Now
From the Paper
"Just like everything else seems to have become in the last twenty years or so, industrializing now would surely be much more difficult and complex than it was - even for Spain just four decades ago, though that wouldn't necessarily be a bad thing. For one, things are always more complicated in a democracy than a dictatorship, where one man can have (as Franco did) quick and final say over all exigencies. Assuming Franco's demise and the installation of a gently progressive regime like the one now in power, nowadays worker safety and, in Spain, worker wages and job security, would no doubt be studied and evaluated for any new manufacturing plant, highway or railroad to be built."
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Late Industrialization and its Consequences, 2004.
Questions whether the theory of 'late industrialization' explains the origins of critical institutional differences between the major economies.
2,424 words (approx. 9.7 pages), 3 sources, MLA, $ 74.95
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Abstract
There are three major theories, namely Abramovitz, Peter and Soete and Gerschenkron, which try to explain the differences of early and late industrialization. However, this essay only focuses on Gerschenkron's theory as it is his theory which concentrates on the attempt to explain the origins of critical institutional differences between major economies. Furthermore, with the help of this explanation, this essay shows in what ways it might account for variations in national performance. First, this essay presents Gerschenkron's theory. It then shows how his theory can be applied to the practical example of South Korea - which, with major institutional involvement, achieved within only 30 years a giant step from an agricultural country devastated by wars, to one of the major industrial countries in today's world.
1. Introduction
2. Gerschenkron's Theory of Late Industrialization
2.1 A Differentiated System
2.2 Backwardness
2.3 Prerequisites for Late Industrialization
2.4 Realisation Through Institutions
3. South Korea's Late Industrialization
3.1 South Korea's Backwardness
3.2 The Role of the State
3.3 Chaebols
3.4 Variations in National Performance
4. Conclusion
5. Reference List
From the Paper
"Starting in the late 18th century, Britain was the first country which experienced the process of industrialisation, i.e. the development from an agricultural into a manufacturing based economy (wissen.de, 2003). Britain is therefore referred to as the forerunner and embodiment of 'early industrialisation'. All countries, which started the process of industrialisation after Britain such as Germany, other European countries, Russia and Japan in the 19th century as well as in the 20th century countries from the developing world such as South Korea, Taiwan, Hong Kong and Singapore underwent 'late industrialisation' and are referred to as latecomers."
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