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The Nature of Art, 2002.
Examines the philosophical origins of art and aesthetics.
900 words (approx. 3.6 pages), 6 sources, $ 35.95
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Abstract
This paper examines theories found in the field of aesthetics, or the philosophical qualities found within art, to clearly address the question of whether humans create art or whether humans are art. This conflict of qualities has long perplexed philosophers and artists alike, where there is no real distinction as to whether art comes from an essential human nature, or whether art is the manifestation of that nature in a detached form of media.
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Japanese Art and Nature, 2002.
An overview of the connection between Japanese art and nature with a review of some Japanese works of art.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper examines the intimate connection that exists between Japanese art and nature. The author discusses the intimacy so many Japanese feel with nature, explains why artistic scenes of the natural world have been a dominant theme of Japanese artists, and analyzes why the Japanese have always had felt a need to express the intimacy they sense between humanity and nature. He also briefly describes some of the works of notable Japanese artists such as Utagawa Hiroshige, Shiki Sansuizu, and Toyo Sesshu.
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Art and Human Nature, 2007.
This paper compares the "The School Boy" by William Blake, "Ode on a Grecian Urn" by John Keats and "The Lady of Shallot" by Alfred Lord Tennyson.
1,396 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
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Abstract
The paper contrasts how the three authors use art in their works to redefine human nature. The paper looks at how Victorian poet Tennyson uses history to paint a romantic and yet disturbing look at the legend of Camelot in "The Lady of Shallot." The paper also illustrates how Blake uses his personal experiences in "The School Boy" to show childish human nature torn between summer and the schoolroom. Finally, the paper shows how Keats speaks of music, heard and unheard, in "Ode on a Grecian Urn".
From the Paper
"Comparing these works can be difficult, because they all have such different views of art and human nature. Keats statement, "'Beauty is truth, truth beauty,--that is all / Ye know on earth, and all ye need to know'" (Keats), is pure Romantic - hopeful, positive, and full of future promise. Tennyson, on the other hand, is just the opposite. His poem is not totally depressing, but it certainly has a darker view of humankind. Blake's work falls somewhere in the middle, it is a more realistic look at one small part of human nature, and how to enjoy life to the fullest, one (summer) day at a time."
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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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National Socialist Propaganda: Role and Nature, 2007.
An examination of the role and nature of Nazi propaganda.
1,008 words (approx. 4.0 pages), 8 sources, MLA, $ 35.95
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Abstract
This paper examines the outlook and the function of the propaganda of the Nazi regime. It explains that the propaganda came in the form of movies, radio, newspaper articles and advertisements, mass rallies and books and infiltrated all aspects of German life. The paper looks at how the Nazi propaganda's saturation of German life and the very nature in which propaganda should be used, set out by Hitler and Reichsminister Dr. Joseph Goebbels, were essential to the regime's popularity, the obedience of its people and the building of its psychological and physical strength and population numbers. The paper also notes that propaganda continued to be used by the National Socialists as a manipulator of the people even after they had gained power and that the focus shifted from politics to the demonization of the Jews and the mentally ill, and to the promotion of the Volksgemeinschaft. The paper further discusses how poster art was one of many suitable mediums for conveying these messages. In conclusion the paper shows that National Socialist propaganda takes its place in history as one of the most powerful and successful operations the world has ever known; a programme that indoctrinated a nation and seduced it into pursuing an ideological fantasy, which eventually resulted in catastrophe.
From the Paper
"One such example of Nazi poster propaganda is the announcement of the "Third Reich's Day of the Farmer of 1935". The farmer, who had always held a place of high esteem in Nazi ideology, is portrayed as a strong, tall, idealised Aryan. He stands upright with his sleeves rolled up as if ready to work or take on some tremendous task. He appears brave, strong and physically idealised and a perfect example of a good German and Aryan man. The National Socialists had recognised that the farmer was the "fount of national health and future German greatness", and with this poster the Propaganda Ministry aims to create awareness of the value of the farmer and his physical and "Volkish" qualities in that he is putting the concern for the greater Volk above himself by farming. Not only is the poster a piece of propaganda, but the event that it advertises is also a propaganda act, held to "strengthen National Socialist values"."
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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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Michelangelo and Pope Julius II, 2004.
This paper discusses the relationship of Michelangelo and Pope Julius II to demonstrate the nature of Catholic art during the Renaissance period.
1,180 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper explains that religious art during this period was an intensely social production and vision, a dialogue between religious leaders such as Pope Julius II and artistic producers such as Michelangelo. Popes commissioned artistic works and inspired, guided, and checked the artist?s individual vision. The author points out that Pope Julius II, who was as careful in planning as he was in his military achievements, enriched the landscape of Rome by adding many fine buildings to the city, including the Vatican Museum and art collection and the Sistine Chapel. The paper relates that the role of the artist was expanded rather than limited by the patronage and commissions of the papacy, and rather than embodying narrow religious ideals, Michelangelo and others were prodded to create works with expansive, complex renderings of Biblical figures as both human and divine in nature.
From the Paper
"Pope Julius II, often known as a kind of warrior pope because of his influence in political as well as spiritual affairs, even more renown to the ages for his tireless patronage of the arts. He is also called the savior of the papacy, because of his integrity, relative to his contemporaries, and his restoration of legitimacy to the church because of limiting some of its excesses?excesses, albeit not enough to stifle the Reformation later on. Also, it is unlikely that Julius would have, had he lived after the reformation, been able to commission such anthropomorphic and expansive works of religious art, some of which were designed to commemorate his own personal memories and accomplishments, such as the commissioning of the tomb that first drew Michelangelo to Rome."
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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 Fl?malle, is sometimes regarded as distinct and sometimes as the work of one individual."
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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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Brecht vs. Naturalism, 2002.
A discussion on whether Naturalism can promote the ideology of Brecht's theatre practices.
1,660 words (approx. 6.6 pages), 5 sources, APA, $ 53.95
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Abstract
This paper examines how the theatre of Brecht and Naturalist theatre are very different approaches to performance. It looks at how Brecht?s theatre was centred on a political agenda and designed to convey messages on that agenda whereas Naturalism is about the art itself and bringing realism to acting, not much to do with politics at all. It studies the working conventions of both Naturalism and Brecht's Epic theatre and considers whether Naturalism can fulfil some of the functions of Brecht's theatre.
From the Paper
"However, in a far more subtle way, Naturalism can also make points which promote comment on the social and political status of the time, and cause reaction within an audience fuelled by these. For example, a great part of ?A Doll?s House? by Henrik Ibsen is a comment on the social status of the protagonist, Nora Helmer. In a contemporary society, her situation would be considered completely normal, in that she is portrayed as a housewife and mother with little or no rights independently of her husband, and before her marriage, her father. As a woman, she was a second class citizen; whilst having just as much intelligence and common sense as her male counterparts this is smothered and repressed so that she fits the mould of the ?good little wife?."
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Materials and Technologies used for the Development of Egyptian Art, 2002.
This essay investigates how the natural materials and technologies available at the time influenced the development of Egyptian art.
2,959 words (approx. 11.8 pages), 14 sources, APA, $ 87.95
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Abstract
This essay investigates whether the natural materials and technology available influenced the development of Egyptian art. The essay argues that the wealth of natural materials Egypt had in its possession provided the Egyptians with access to a range of mediums with which they could develop art. An argument is put forward that the technology and techniques used by the Egyptians greatly influenced and contributed to the development of Egyptian art. This essay begins by looking at the earliest materials and technologies that were used during the prehistoric period followed by an examination of how these materials and techniques developed over time. Evidence is provided throughout the essay to support these arguments.
From the Paper
"Pottery was also one of the earliest forms of artwork in Egypt dating back to the Prehistoric Neolithic and Predynastic Periods. In 1985 Sir Flinders Petrie discovered a variety of Predynastic pottery vessels ranging from Badarian handmade vessels to decorated pottery from the Naqada Period that showed evidence of ?exquisite craftsmanship? (Romer 1982:38). The natural materials that allowed for the creation of such pottery included Nile river silt clay, limestone and clayey shale from the cliffs (Romer 1982:45). The early technology used to produce pottery included polishing the pottery with a pebble to give a burnished red or black appearance before being fired in a kiln (Shaw & Nicholson 1995:226). Other
decorative characteristics included rippled lines that were produced by running another natural material, fish bones over the wet clay (Hart 1995:30)). Improvements in ceramic technology and the introduction of the potter?s wheel allowed an increase in the range of shapes that could be produced (Quirke & Spencer 1992:178). However J. Romer (1982:70) states that the use of the potter?s wheel led to a decline in the quality of Egyptian pottery. He argues that the potter?s wheel, although allowing larger vessels to be made quickly and easily from clay, ultimately led to pottery becoming more utilitarian and of less artistic quality. Therefore although the standard of art declined, this is still evidence of how the technology available influenced the development of Egyptian art."
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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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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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