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Self Portraits Compared, 2006.
Compares two works from the Columbus Museum of Art: Andy Warhol's "Self Portrait 1986" and "Self Portrait" by Chuck Close.
1,716 words (approx. 6.9 pages), 0 sources, $ 55.95
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Abstract
This paper compares two original paintings currently housed in the Columbus Museum of Art in Columbus Ohio. The two works are self portraits, each by American artists of the 20th century. The first painting discussed is "Self Portrait" by Chuck Close. The second is "Self Portrait 1986" by Andy Warhol. The paper shows that although the works are very different, they still tend to represent a similar school in art.
From the Paper
"Another realist artist of the pop area currently exhibited at the Columbus Museum of Art is Andy Warhol. His life and his work are quite different from that of Chuck Close, yet some elements of their social and personal development are the same. Warhol was born in Pennsylvania, the son of immigrant farmers. While Close and Warhol both lost their fathers at relatively young ages, and both showed early talent for art, Warhol went toward a more commercial venue in his early art."
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Self-Portraits of the Masters, 2005.
A paper examining the self-portraits of three artists autobiographically.
1,350 words (approx. 5.4 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper provides an examination of how the self portraits of three artists--Rembrandt, Gauguin and Cezanne-- work autobiographically. The paper looks at how the self-portraits reveal glimpses into the lives of the artists as well as their place in history.
From the Paper
"It has been said that art imitates life. Certainly this seems to be the case in many artistic works throughout history and will most likely continue to be the case in the work of generations of artists yet to come. This is reflected most, perhaps, in the self-portraits of artists, as the very notion of self-portraiture implies some amount of introspection and personal experience. This is why many such self-portraits are said to be-at least in part-autobiographical in nature. Here we will examine..."
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Death Portraits, 2001.
A look at the artistic trend of death portraits which were characteristic at the turn of the 19th-20th century.
1,900 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper examines some of the more famous "death portraits" or daguerreotypes, which were photographed in the early 20th century. It analyzes the psychological reasons why people chose to have these done and the socio-economic reasons as well. Reasons include that the photograph was cheaper than a painting and quicker. The excitement at the new technology of photographing gave rise to this new trend.
From the Paper
"Death portraits, like the one presented here, did not just depict the dead, but also included, or even focused on the living mourners. These portraits didn?t just focus on the death, but the process of mourning itself. Daguerreotypes like these were not popular at first, but became popular later in the century. At least two women in the 1840?s posed in daguerreotypes with their dead children; and by the end of the century, this had become a convention. The process had come full circle; the photograph now documented a convention in which it had a part."
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Vincent Cianni?s "Southside Portraits", 2002.
An exploration of Latino gender from Vincent Cianni?s "Southside Portraits?.
915 words (approx. 3.7 pages), 6 sources, MLA, $ 32.95
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Abstract
This paper examines how photography can provide a refreshingly accurate window onto the life of a culture alien to that of the observer of the photograph. It looks at how Vincent Cianni?s ?Southside Portraits? offers an insight into the Latino culture of Williamsburg, Brooklyn. Rather than selecting women to gaze at, however, Cianni chooses to make men his central subjects and mediums for making a ?statement? about the world and the community he observes. It analyzes how Latino masculinity is often frightening to the Anglo world and how, by showing, his individual subjects in their environment, Cianni reveals the roots of this seemingly strange, aggressive, athletic, sexualized behavior.
From the Paper
"Not all of Cianni?s subjects are quite so touching in their vulnerability. One photograph shows a boxer doing push-ups. But the title, Freddie Floating, suggests that more is going on in the subject?s mind than sparring. Freddie wishes to fly in both his dreams as well as across the ring. Athletic prowess, more than in the previous photos discussed, is linked to dreams. The fact that Freddie wears underwear to exercise him makes his masculinity all the more evident, yet also all the more displayed. These portraits suggest that for Latino men to establish their identity, they must ?put themselves out there,? physically in a sexual sense, to both demonstrate their athletic machismo and to be recognized by society."
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Two Portraits, 2004.
This paper compares two portraits :Claude Monet's La Japonaise" and Jean Baptiste Greuze's "Young Woman in a White Hat".
1,350 words (approx. 5.4 pages), 0 sources, APA, $ 47.95
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Abstract
This paper explains that Claude Monet's "La Japonaise" and Jean Baptiste Greuze's "Young Woman in a White Hat" are fundamentally similar to each other in that they depict a beautiful young woman. The author points out that a female figure in many ways encapsulated the ideals of feminine beauty of the subjects' and the artists' generations. The paper stresses that, despite this similarity of subject, the two paintings are far more dissimilar than similar to each other.
From the Paper
"Claude Monet in his "La Japonaise" and Jean Baptiste Greuze in his "Young Woman in a White Hat" chose to create works that are at their core fundamentally similar to each other. Each selected as have so many artists before and after them to depict a beautiful young woman a female figure that in many ways encapsulated the ideals of feminine beauty of the subjects' and the artists' generations. However, despite this similarity of subject, the two paintings initially strike us as far more dissimilar than similar to ..."
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Five Portraits, 2002.
A review of five different paintings of women by five different artists.
2,290 words (approx. 9.2 pages), 4 sources, MLA, $ 70.95
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Abstract
This paper analyzes five different portraits - ? Manet?s ?Olympia?, Goya?s ?The Naked Maja?, Titian?s ?Venus of Urbino?, Velazquez?s ?The Toilet of Venus? and Giorgione?s ?Sleeping Venus?. It discusses how these five portraits collectively present us with a sense of how art shifted from the beginning of the Renaissance and thus the beginning of Modernist sensibility through the rise of the industrialized world into late modernism. However, while nearly everything changed in the world and in the world of art, the position of women in society and so the position of women on canvases changed very little over the course of these centuries.
From the Paper
"Titian was perhaps the greatest colorist of the Renaissance, and by the time that he died in Venice in 1576 his use of color and the way that he blended it with form had forever changed the course of European painting. He most important contribution to European painting, as Huse (1993) argues, is that his works created a visual alternative to the sculptural and highly linear Florentine tradition that had been brought to prominence by both Michelangelo and Raphael ? and that during their own tenure seemed the only possible way in which to interpret the world."
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The Self-Portraits of Rembrandt and Bernini, 2002.
Analyzes, discusses and compares two self-potraits by artists Rembrandt and Bernini.
1,150 words (approx. 4.6 pages), 4 sources, $ 44.95
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Abstract
Both Rembrandt and Bernini painted self-portraits and both were keen to manipulate the self-images they presented to the public in certain ways. There are similarities in their perspectives on self-portraits as well as significant differences. One of the most important differences is the fact that Bernini's most compelling self-image appeared in works actually depicting others (David e.g.), while Rembrandt was fond of painting himself as himself.
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Painted Portraits, 2001.
This paper discusses the work of American painters Cecilia Beaux and John Singer Sargent.
1,530 words (approx. 6.1 pages), 7 sources, MLA, $ 50.95
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Abstract
This paper explores the works and styles employed by Cecilia Beaux and one of her teachers, John Singer Sargent. It gives a brief personal history of each painter and their early influences. It further explores their unique styles, for Beaux, it was based on French impressionism and color, and Sargent's ability to portray essence. Finally this paper attempts to show why portraits remained popular during a time in which photography was widely used.
From the Paper
"One of the reasons that Beaux and Sargent were popular painters even in an era in which portraiture was becoming more and more the domain of the photographer was that while portraits have always been made to serve as keepsakes and visual memoirs, they have also always served other functions as well, perhaps the primary of these being to mark the social status of the subject. Portraits by their very nature never be mass-produced but must also be commissioned. This means that they are expensive, requiring someone to be able to pay an artist to devote all of her or his skills and time to the subject alone. Thus portraits have always served as a proxy, a marker of high status."
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Female Portraits, 2001.
Compares & contrasts Picasso's 1906 painting of Gertrude Stein & de Kooning's 1944 painting "Woman." Depictions, styles.
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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From the Paper
"Pablo Picasso?s 1906 portrait of Gertrude Stein and Willem de Kooning?s 1944 painting ?Woman? are both fascinating in themselves and at least somewhat anomalous in terms of each artist?s canon of work, especially in terms of their depictions of women and the human form. The essay examines these two work, after providing a very brief overview of the artists? background.
Pablo Ruiz y Picasso was prolific both in terms of absolute numbers of works ? having created more than 20,000 pieces ? and in terms of creativity, as an innovator of styles and techniques, as a master of various media, and as one of the most prolific artists in history.
Picasso's genius manifested itself early: at the age of 10 he made his first paintings, and at 15 he performed brilliantly on the entrance examinations to Barcelona's School of Fine Arts. "
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Portrait Comparison, 2002.
This paper compares two portraits "Reclining Girl" and "A Lady at her Toilet (La toilette)."
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper compares the portraits of Boucher's painting "Reclining Girl" to Watteau's "A Lady at Her Toilet".
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Augustine in Portrait, 2005.
A comparison of two portraits of Saint Augustine.
3,220 words (approx. 12.9 pages), 3 sources, APA, $ 111.95
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Abstract
This paper describes and compares two different portraits of Saint Augustine: the one drawn in his "Confessions" and the one in a modern biography of Augustine, written by Peter Brown. The paper presents the historical context for the life and work of Augustine. Then the paper examines Brown's evaluation of Augustine's place in the evolution of Christianity's spiritual content and its ecclesiastical structures.
From the Paper
"The purpose of this research is to compare the portrait of Augustine of Hippo presented in Peter Brown's modern biography with the portrait that Augustine himself presents in the 'Confessions'. The plan of the research will be to set forth the historical context..."
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Self-Portrait in the Northern and Southern Europe, 2006.
A portraiture study of self-portraits by Ablrecht Durer, Sofonisba Anguissola, Caterina Van Hemessen and Titian.
1,575 words (approx. 6.3 pages), 0 sources, $ 62.95
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Abstract
The focus of this paper is to reveal the various backgrounds to the self-portraits created by Albrecht Durer, Sofonisba Anguissola, Caterina Van Hemessen and Titian. The paper explains that not only do these paintings define the culture and nationality of the artist, but that gender roles and technique play a large part in their creation as well. Furthermore, the paper points out that the manner of propaganda in self-portraitures is reflected in how the male and female are depicted.
From the Paper
"This portraiture study will analyze the cultural, artistic, gender based initiatives that are presented in portraits by Albrecht Durer, Sofonisba Anguissola, Caterina Van Hemessen and Titian. By evaluating the various portraits, one can realize how gender roles also play a part in how portraits are created, alongside the technical means to emulate the values of both Southern and northern styles. By realizing the identity of the artist in relation to their particular aesthetic, the basis for portraiture is the result of the artist being in alignment with their own individual perspectives, and of those of the culture they seek to represent in art history. The painting by Albrecht Durer entitled: "Self Portrait of the Artist Holding a Thistle" is representative of a young man that reflects his native northern upbringing. However, Durer was a traveler that sought..."
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Dante Gabriel Rossetti?s Poem ?The Portrait?, 2005.
This paper discusses Dante Gabriel Rossetti's poem "The Portrait", which celebrates love, art, the artist and eternity as the poet moves through time while gazing at a portrait of his lover.
1,025 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper explains that the "The Portrait", a complex poem, operates on two different levels: First, the reader becomes aware of the relationship of the artist and his piece of work; and then the poem probes the connection existing between the artist, his sense of self and how those emotions shape the creation of art. The author points out that the rhyme scheme in this poem is ababccddc, which allows the poem to read smoothly, and the poet's use of words forces the reader to read slowly. The paper relates that Rosette includes the mythological story of Narcissus to further the idea that the poet is just as attached to his art as he is to the memory of his lover.
From the Paper
"The first lines of the poem introduce us to a relationship between an object of art and the viewer of that piece of art. It is important to note that the poet is speaking to himself because this allows us to see how the poet is not just examining the work of art. The act of looking at his artwork moves him to explore himself as well. The notion of the exploration of self can also be seen when the poet compares the painting to the image he sees in a mirror. He writes, "It seems a thing to wonder on/As though mine image in the glass/Should tarry when myself am gone" (Rosetti 2-4). These statements reflect the story of Narcissus in that when the young man turns from his image, the object of his affection disappears."
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?Wedding Portrait? and ?Merode Altarpiece? Comparison, 2006.
A comparative analysis of Jan Van Eyck's "Wedding Portrait" and Robert Campin's "Merode Altarpiece" .
804 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
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Abstract
This paper examines the similarities and differences between Jan Van Eyck's, "The Arnolfini Marriage," ("Wedding Portrait") and Robert Campin's, "Merode Altarpiece", both Flemish artists who were among the most important painters in the Early Renaissance (North) period. It looks at how both are naturalistic oil paintings with religious undertones and both are portraits. It also discusses how, although the paintings are similar in many ways, there are also several differences.
From the Paper
"For example, in Van Eyck's painting, a single candle is burning, even though it is daylight. This has been interpreted as symbolic of God's all-seeing eye, while some believe it is a bridal candle. In addition, there is an image of St. Margaret, the patron saint of childbirth carved on the back of a chair. The ornate mirror on the back wall shows the artist himself, as well as a second man, who may have been another witness to the ceremony. A small dog stands between the couple in the foreground, symbolizing faithfulness and love, and on the window ledge is a bowl of fruit, symbolizing either fertility, or the fall from Eden."
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"The Portrait", 2005.
This paper discusses Dante Gabriel Rossetti's poem, "The Portrait", in which the poet vividly demonstrates the delicate line between love and possession and between artistic inspiration and objectification.
1,525 words (approx. 6.1 pages), 0 sources, $ 50.95
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Abstract
This paper explains that, on the surface, Rossetti's poem "The Portrait" may not seem to be specifically dealing with the line between love and possession. However, looking deeper, the reader finds that whether love still exists or not, at the end, its selfless nature has at least to some degree given way to the possessive and controlling aspects of the artist. The author points out that this is an ekphrastic poem, a poem describing a piece of art, divided rather arbitrarily into two stanzas, including an opening octave composed of two a-b-b-a quartets and followed by a sextet of the a-b-c-a-b-c variety. The paper relates that the orderliness of the rhyme scheme and its almost singsong nature help to evoke a sense of the more traditional, spiritual and emotive elements of the portrait.
From the Paper
"The plot of the poem, as it were, is a description of the way this faithful reproduction of the beloved is such that her beauty and soul-fullness shines through and may be seen by all, so that both the painter and many strangers may come together to look at the beloved in worship. It bears repeating that it is only on the surface that this poem is about a painting... on close examination, one finds that it is actually a poem describing the creator of this piece of art, as he relates to his lady, his audience, and his deity through art. In understanding the poem as dealing not so much with the description of a piece of art as with the way in which an artist can come to feel both about his work and about his models, one is able to open up whole new fields of interpretation, even allowing the work to be understood from a rather feminist perspective -- for as the author shifts from writing a poem about a painting and becomes caught up in righting instead about a person, one may also see his shift from the original love of that person to a point where he merely wishes to own, objectify, and eventually (an uncompromisingly) put them on display."
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