| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "POLITICS PAINTING HA QIONGWEN": |
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The Politics of Painting: Ha Qiongwen, 2007.
An analysis of the relationship between art and the people in China, as seen in Ha Qiongwen's works.
2,240 words (approx. 9.0 pages), 6 sources, MLA, $ 69.95
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Abstract
This paper looks at the artwork of Ha Qiongwen and the manner in which his artwork captures the collisions between "art" and the concept of "the people." It also discusses the concepts of "art" and "ritual" and "art" and "revolution." In addition, the paper describes how Ha Qiongwen facilitates a better understanding of the China within which he worked. Finally, the paper briefly looks at two of Ha Qiongwen's more prominent works and how they lay bare the relationship between cultural production and art.
From the Paper
"As this paper draws to a close, the artwork of Qiongwen informs far more than it reflects the mores of this writer. To wit, Ha Qiongwen's work underscores the centrality of artistic propaganda in furthering the "messages" of the Chinese state and it also offers a glimpse into the dynamics of Chinese society during the 1940s, 1950s, 1960s and even 1970s. Beyond that, Qiongwen's artwork reveals that, even if revolution was "in the air", some socio-cultural assumptions remained firmly entrenched after 1949. For example, while women were now expected to pick up a weapon in defense of the revolution, they were nonetheless still expected to remain in their domestic roles at the same time. Be that as it may, the artist does reflect this writer's personal interests insofar as he seems to fully appreciate (as the writer does) the propagandistic value of artwork - an appreciation that perhaps too few people share."
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?Paddy Clarke Ha Ha Ha?, 2002.
A review of Paddy Doyle's novel ?Paddy Clarke Ha Ha Ha?.
2,377 words (approx. 9.5 pages), 1 source, MLA, $ 72.95
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Abstract
This paper examines Roddy Doyle?s novel, "Paddy Clarke Ha Ha Ha", a powerful and compelling story of life in 1960s Ireland through the eyes of a ten-year-old boy, Paddy. It looks at how the book is purposely written almost entirely in dialogue, creating a fantastic range of slang, vulgarisms and colloquialisms. It analyzes how within the book, Doyle explores and deals with many issues, including Paddy and his hatred for his brother, peer group pressure and his mother and father's rocky and deteriorating marriage as well as many other themes. These include the loss of childhood innocence, the family, the marvellous nature of a child?s imagination, the harshness of life and the cruelty of children.
From the Paper
"The first techniques which one could mention, is the obvious slow change of the tone within the book. Doyle creates, for the first 200 pages of so, the dominant tone of happiness, delight and childish mischief. ?I had a book on my head. I had to get up the stairs without it falling off. If it fell off I would die.? Nothing is particularly serious, Paddy continues to harass his brother and play with his peers, and has yet to understand the seriousness of his mother and fathers continuous quarrelling. However Doyle cleverly changes the tone, towards the end of the novel, through Paddy?s dialogue, not only to show that Paddy is growing up, as he most definitely is, but also to create a tone more serious, anxious and tense. ?They were fighting all the time now. They said nothing but it was a fight?The silences were worst, waiting it to start again, or louder.? "
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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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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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?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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"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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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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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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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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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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Edvard Munch's Famous Painting, "The Kiss", 2001.
A short look at the artistic qualities and techniques used in this famous painting.
609 words (approx. 2.4 pages), 1 source, $ 21.95
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From the Paper
"The work is quite simple, using simple artistic devices in order to capture this couple?s one timeless moment. It successfully portrays joy pulling the viewer into the painting?s depths with its brilliant use of colour and shape, creating another reality. It?s as if you are looking at these lovers through a glass panel, distorting them and melding them together until they themselves look as smooth as the glass that protects them."
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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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Cave Painting and Graffiti, 2006.
A discussion on whether cave painting and graffiti can be considered art or a form of communication.
1,070 words (approx. 4.3 pages), 10 sources, MLA, $ 37.95
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Abstract
This paper examines how, from the earliest of times, humankind has used words and symbols to display needs desires and necessities to both the gods and other humans and how, the prehistoric sketches of Paleolithic man and the current scrawls of modern man, while on the surface seem to be absolutely different, are inherently the same. In particular, it compares two works, a red and black bison on the ceiling at Altamira, Spain from 30,000 to 10,000 BC, and a terrier and tic-tac-toe board from the side of a building, New York City, late 1980s AD.
From the Paper
"The composition of the painting, or lack thereof seems to be rather significant in prehistoric art. The lack of connection to the horizon, or anywhere else, denotes some type of religious meaning. Whether this entails simply a celebratory incantation for the fact that the animal lives to provide us with more food, or allows the magic in a shamanic spell to become more powerful against the animals, one has no knowledge. But the art of the caves does not appear to be simple art for art's sake. Christensen says, "It has been suggested that painting may have served as teaching material in which the spoken word, music, dance and masks were involved." (343) The time of Paleolithic man was wild and uncertain, but one could say the same about the current times."
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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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