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The Meaning of Art, 2005.
This paper is a personal essay defining the meaning of art as seen in poetry, drama, literature, sculpture, painting music and ancient artifacts.
1,050 words (approx. 4.2 pages), 0 sources, $ 36.95
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Abstract
This paper, which is a personal essay, defines art as a reflection of life conveying experiences in many forms. The author believes that the artist and the audience are essential partners in art because, while it provides the artist a means of expression, it also allows an audience a chance to escape. The paper relates that the artistry of poetry can be seen in what it says and with its form; for example, John Keats wrote lovely poetry that not only said something but also followed a structure, which makes it even more beautiful.
From the Paper
"Some of the representations of art can be seen in literature. For example, no one can mention art, literature, and life without mentioning Shakespeare. Shakespeare's art reflects life in the realistic characters he created. For example, in the character of Hamlet, we see almost every man. Hamlet is a complicated creature who suffers from many struggles. However, the one that truly gets the best of him in the struggle that he experiences internally. Hamlet struggles with himself in a way that almost every human does and many critics consider Hamlet brilliant because he does not resolve any of his problems by the end of the play. This is life. We encounter struggles and problems and many times we do not live to discover a resolution and sometimes we destroy ourselves while seeking a resolution. Hamlet is a work of art because he is so human."
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The Meaning of Art, 2003.
Discusses individual responses to art.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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Abstract
Examines aesthetic value and artistic meanings, both designative and embodied. Discusses views of two art critics, including Danto's emphasis on artistic intention as the primary agency of meaning and Hickey's emphasis on the experience of the completed art.
From the Paper
"When Danto considers the dominant aesthetic measure of art to be the artist's intention or thought and Hickey considers it as the complement of value judgments that the viewer of art brings to the enterprise of response to the work, one effect of their ..."
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Art as a Means of Self-Expression, 2002.
A paper which compares the characters of Stephen Daedalus in James Joyce's "A Portrait of the Artist as a Young Man" and Andrea del Sarto in the poem of the same name by Robert Browning.
1,150 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
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Abstract
The paper shows that for both Stephen Dedalus in James Joyce's novel "A Portrait of the Artist as a Young Man" and Andrea del Sarto in the poem of the same name by Robert Browning, art is a means of self-expression and achieved when the artist satisfies himself. It discusses how art comes from within and satisfies an inner craving - others may enjoy what is produced, but it is essential that the artist does. The paper shows that for both characters, their medium is how they relate to the world, how they understand the world, and how they shape the world, and all this constitutes a definition of art.
From the Paper
"For Andrea del Sarto as for Stephen Dedalus, many of the things of this world stand in the way of the artist, whether that be the need for money, frustration with religion, political realities, interpersonal relationships, or similar concerns. Both artists are also faced with the reality of learning to master their media. Even then, as with Andrea del Sarto, this may not be enough if that spark that sets the artist apart is not present or is not as effective as for some other artist. Art for both is also a rivalry with other artists, and that in itself is both a spur and in some ways a barrier preventing the complete freeing of the inner artist."
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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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Art Interpretation, 2002.
Delves into the meaning of art, using Monet's London paintings as a subject of discussion.
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
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Abstract
This paper tries to clarify what art means. By examining Monet's London pictures, we must concentrate not only on the meaning of atmosphere, but also the form it takes in the painting. Yes, Monet tried to represent nature and in doing this, he showed many different atmospheric effects. At the same time, we must allow the form of the painting to move us, rather than its supposed social and political implications.
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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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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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Sculpture's Depiction of Suffering, 2005.
A review of the four contrasts of meaning in the art of sculpture.
2,250 words (approx. 9.0 pages), 10 sources, $ 89.95
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Abstract
This paper examines Rodin's "The Gates of Hell", the "Palette of King Narmer", Auguste Preault's "Slaughter" and Edward Keinholz's "The State Hospital", in terms of what they convey of suffering, the human condition, the origin and results of suffering, across cultures and periods. Through this paper, one realizes that suffering as depicted in sculpture has different meanings, according to theistic or other culture and how the individual is anticipated to respond to it.
From the Paper
"A theme of human suffering has appeared, many times, in sculpture, and as this paper conveys, in remarkably different periods. Examining Rodin's 'The Gates of Hell', 'the Palette of King Narmer', August Preault's 'Slaughter', and 'The State Hospital' by Edward Keinholz is not as curious an exercise as it may, at first, seem. Emily Vey Duke argued that, "art is for empathy, and empathy... for the reduction of suffering". (Suffering, 2005, 8) However, the very different works discussed in this paper indicate something different, even if some similarity is found in the way that suffering is their foremost, memorable message."
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Outsider Art, 2005.
This paper discusses the history and future of the term "outsider art", referring to art, made by self-taught artists, which stands outside the realm of "fine" art.
3,015 words (approx. 12.1 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper explains that "outsider art", also called naif, naive or art brut, is collected by the most well-known collectors; therefore, the question arises when something becomes popular or "in" does it continue to be "outside"? Can "outsider art" continue in the years to come? The author points out that, for example, after World War I, the cultured in Europe began developing an interest in self-taught creators called "naives", such as Henri Rousseau, who were creating their artistic works throughout Europe especially France. The paper presents many examples of "outsider art" in the U.S., including Mexican-American, jailhouse and street art, some of which has entered the realm of collectors and museums, while other artist prefer to remain "Outside Art".
Table of Contents
Introduction of Thesis Statement
Introduction of Terms Based on Dubuffet and Cardinal
Move from Europe to United States
Definition of Outsider
Examples: Slaves, Mentally Ill, Spiritual, Folk, Recycled
Response to Thesis Statement
Conclusion
From the Paper
""Outsider art" continues to evolve along with changes in society. A new form of work, for example, called "recycled folk art," transform pieces of trash into new treasures. In Mexican-American Texas communities, houses are adorned by objects, colors and symbols that reflect a history over the past to present days. Many of the visually rich barrio decorations are made from everyday castoffs such as Styrofoam cups, tires and tile chips. Brightly colored trucks and cars, tree swings, and televisions act as shrines to the Virgin of San Juan. Windmills and whirligigs are made from soda cans, butterflies from scrapped tin and muffler robots from used auto parts."
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Fifteenth Century Art of the Netherlandish Region, 2002.
This paper discusses the development of art in the Netherlandish region during the fifteenth century and the influence this art had on European art in the centuries to come.
3,111 words (approx. 12.4 pages), 6 sources, MLA, $ 90.95
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Abstract
This paper examines the art of the Netherlandish region during the fifteenth century and suggests that, contrary to common scholarly opinion, the art of this region was important not only from the perspective of how it related to contemporary art in Italy, but, in its own right, was possibly one of the most important moments in Western art history. Also examined are the inventions, innovations, and impact Netherlandish art had the development of European art.
From the Paper
"Nevertheless, the depiction of the world was an unusually strong preoccupation of the Netherlandish painters. Among those artists who worked in the early part of the century, the output of the Tournai painter Robert Campin (c. 1378-1444) and that of the Master of Flemalle, is sometimes regarded as distinct and sometimes as the work of one individual."
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Art vs. Design, 1997.
An overview of the historical debate on the differences between arts and crafts, fine arts and applied arts, aesthetic requirements, and an example (19th Century French poster artist Jules Cheret).
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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From the Paper
"The twentieth century's distinction between 'design' and 'art' derives from the sudden and overwhelming growth of technological innovation, and the commercial demand for applied design, during the Industrial Revolution of the nineteenth century. The primary distinction was between the so-called "high arts" of painting, sculpture and architecture, and "decorative or applied" design (Collins 17). This differentiation between art and design is sometimes perceived as an unfair elevation of art at the expense of design. Yet, so long as the distinction is based on such qualities as reproducibility, methods of production, or function, it is both valid and valuable. If, however, the differences between art and design are cited as criteria of aesthetic, or even moral, value, the distinction does not hold up, and is of little value to understanding either type ..."
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Art Education, 1996.
Criticizes lack of art instruction & examines alternative curricula, theories, methods & benefits from teaching visual art & art history.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"The decline in arts education in American schools is due largely to incomprehension regarding the role this branch of learning plays in the intellectual and educational development of children. Knowing and learning in art are different from these same activities in other areas. This idea is slowly penetrating the education field -- and as the idea of many different kinds of 'intelligences' takes root it becomes clear that they are served by different disciplines. But the problem is not limited to the general public. There is also a great deal of confusion, even among arts educators, over such basic questions as what is to be taught, who is to teach it, and whether children acquire skills from it that have broader relevance. Research in art education is slowly developing a new rationale for its existence on the basis of evolving ideas in developmental and educational..."
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The State of Arts Education in New Jersey, 2005.
A look at the situation of arts education in New Jersey following the No Child Left Behind Act.
16,584 words (approx. 66.3 pages), 13 sources, MLA, $ 249.95
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Abstract
This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of American arts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper
"Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
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The Development of Art Throughout the World, 2006.
This paper reviews the history of various art forms in "Art in the Western World," written by David M. Robb and J. J. Garrisson.
1,020 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
This paper examines the development of western art forms from early architectural designs through sculptures of the Greeks and Romans, the European art of the Renaissance period and into the 20th century as written about in "Art in the Western World," by David M. Robb and J. J. Garrisson.
From the Paper
"Hendrick Willem Van Loon, traces the history of Art in The Arts. Van Loon follows the development of Art from the prehistoric period, the Minoan civilization, the Greeks and Romans, Gothic Art, Renaissance Art, Chinese and Japanese art into the Empire style of the early 1800's. He looks at art as a whole, discussing musicians as well as architects, sculptors and painters."
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