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The Power In The Painter's Brush, 2002.
Argues that images in paintings are sometimes more powerful than words.
925 words (approx. 3.7 pages), 9 sources, MLA, $ 32.95
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Abstract
This paper deals with the power of images vs. the power of words. It analyzes two paintings, ?The Scream,? by Edvard Munch and Goya's "Saturn Devouring His Son", as examples of the power of images. The paper also includes copies of the paintings.
From the Paper
"This piece was painted at the end of Goya?s life, thus it?s classification as one of his ?Black Paintings.? ?In this work, Goya followed Rubens, but went far beyond his source in the expression of bestial rage? (Wilson-Bareau 53). Rubens is Peter Paul Rubens, a very famous and well-known painter from the 15-1600?s, who style was closely studied by Goya. But that term, bestial rage, sums it up very well. ?The theme of Saturn undoubtedly plays an essential role in the conception of the ?black paintings,? as a symbol of melancholy and destruction? (Gassier 318). And that is just what this painting is?pure melancholy, destruction, bestial rage, pain, suffering, and above all else, powerful enough to not need words."
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Venetian Painters, 2004.
An analysis of the application of color by the Venetian painters Titian, Tintoretto, and Veronese.
1,364 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper examines how, in the 16th century during the height of the Italian Renaissance, the art that was created in the city of Venice symbolized a strong, independent, and influential school all its own, which was touched only very slightly by the ideals and fashions of Mannerism that swept Western Europe. It looks at how, within this highly independent school, numerous painters emerged as a group to set the precedents of Venetian art. In particular, it studies the utilization of color in the works of the artists Titian, Tintoretto, and Veronese.
From the Paper
"As most art historians and scholars would heartily agree, Titian, the quintessential Venetian painter, consistently provided the basic framework upon which he explored and utilized color to its utmost limits. By brushing on his colors layer after layer and building up structures within the pigments, Titian produced ?brilliant depths, lights and darks that seem to glow from within the canvas, and the flesh of his figures takes on the tone and illusion of true life.? 4 Yet as an artist, Titian was also doing something else, namely that he was organizing masses of color on his canvases that in the end were always extremely exciting to behold."
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Early American Painters, 1993.
Discusses the lives and histories of several early American painters, including John Trumbull, John Blake White, Samuel F. B. Morse, Albert Bierstadt and Winslow Homer.
2,700 words (approx. 10.8 pages), 4 sources, $ 95.95
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From the Paper
"John Trumbull:
John Trumbull, a colonel in the Revolutionary War, was the son of a distinguished scholar and governor of the state of Connecticut during the revolution. In the war, Trumbull used his skills as a draftsman by drawing plans of various works in which the army was interested. After his time in the army, Trumbull went to Europe to continue his studies of painting. Beginning in 1783, he studied day and night with Benjamin West in London. Under the tutelage of West and John S. Copley he devoted himself to art as a profession (National Cyclopedia 334).
Later, Trumbull would be considered the painter of the Revolution. In his early works, he painted subjects from Greek and Roman history, but he soon abandoned these in favor of contemporary history. His first such works were "Death of ..."
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Thomas Cole: American Painter., 2002.
This paper focuses on the life and work of Thomas Cole.
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
Cole was one of the very few painters who gained world fame and recognition for their landscapes. The painter hails from England, but since he stayed in America for most part of his life, he was always known as an American painter. Cole was not only inspired by nature but his work also reflects an interest in poetry and literature.
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Impressionist Painters, 1995.
This paper discusses Impressionist: Motivations, styles, major works, gender & cultural factors and relationships of Berthe Morisot, Mary Cassatt, Jean Renoir, Claude Monet, Edgar Degas and others.
3,375 words (approx. 13.5 pages), 6 sources, $ 119.95
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From the Paper
"The "First Ladies" of the French Impressionist movement were undeniably the Frenchwoman Berthe Morisot (1841-95) and the American expatriate Mary Cassatt (1944-1926). They were also, by reason of default, the "second," "third" and "fourth"-tiered women of Impressionism as well - for there were no other female Impressionists of note, despite the fact that one or two other women had associations and hangings with the movement's acknowledged inner-circle of males: Pierre-Auguste Renoir (1841-1919), Claude Monet (1840-1926), Camille Pisarro (1830-1903), Edgar Degas (1834-1917) and (by others' judgement if not his own) Edouard Manet (1832-83). By default or not, Morisot and - to a much larger degree - Cassatt stand firmly in the midst of that company of gentlemen because they were good at their art, not by any condescension on the part of either critics or ... "
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16th & 17th Cent Baroque Painters, 1996.
Major works, themes & styles of Judith Leyster, Lucas van Leyden, Quentin Metsys & others, focusing on moralistic depictions of brothels & prostitution.
2,250 words (approx. 9.0 pages), 8 sources, $ 79.95
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From the Paper
"The Baroque era in art was a manifestation of seventeenth-century life. It was expressed in different ways in different regions. The Baroque was the child of the Renaissance and was in part the result of a religious crisis brought about by the Renaissance emphasis on beauty and humanity:
It did not raise hopes of eternity nor promise everlasting glory to the poor to compensate for their earthly lot. The limitation of its message partly explains why the religious crisis came to a head, leading both to the birth of Protestantism and to the efforts of the Catholic Church to reorganize itself as the Council of Trent. Baroque. . . became the interpreter of the Catholic Church. . ."
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Italian Painter Paola Veronese, 2001.
Overview of Venetian School and Renaissance painting. Analysis of Veronese's 16th Century painting, "Mars & Venus United by Love." Color, themes, composition, structure.
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
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From the Paper
"Paolo Veronese (1528 1588) was an Italian Renaissance painter and one of the great masters of the Venetian School. He was born Paolo Caliari in Verona but was called Veronese for his native city. The conservative local tradition of Verona remained fundamental to Veronese's style throughout his career. In his early works, Veronese combined elements of the local High Renaissance style with elements of mannerism, which included complex compositional schemes that often employ a so called worm's eye view perspective. He also used figures reminiscent of those of Italian artist Michelangelo. In 1553, he moved to Venice, where he blended brilliant, luminous contrasting hues in the Veronese tradition. His compositions often involve multileveled settings and dramatically steep perspectives. Veronese was seen as a master of the use of color..."
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Thomas Cole, Painter, 2002.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
Thomas Cole was trained as an engraver of the woodblocks used for printing calico. In 1823, Cole followed his family to Pittsburgh and began to make detailed and systematic studies of that city's highly picturesque scenery, developing a procedure of painstakingly detailed drawing. Cole's rapid rise to fame in the early 19th century marked a sudden shift in American taste. With the emergence of Cole, landscape rather quickly supplanted figure painting as the most important expression of American artists, a position it retained throughout most of the 19th century.
From the Paper
BAD ABSTRACT: ABSTRACT IS NOT AN ABSTRACT
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Cindy Sherman & Italian Baroque Painters, 1999.
Compares History Portrait Series (1989-1990) of American photographer with works by Caravaggio & Gentileschi of 16th Century. Anaylzes themes of style, content, artist as model, meaning, gender and human suffering.
3,150 words (approx. 12.6 pages), 6 sources, $ 111.95
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From the Paper
" This study will examine the relationship between the photography of Cindy Sherman, specifically a number of the works from her "History Portraits Series" of 1989-1990, and selected works of the Italian Baroque painters Michelangelo Merisi de Caravaggio and Artemisia Gentileschi of the late 16th and early 17th centuries. If one considers these three artists in terms of the evolution of a single vision, moving from Caravaggio through Gentileschi to Sherman, one can more easily see the relationships between and among their works. The thrust of this study will focus on such an evolution, from the traditional "masculine perception" (Garrard 4) of Caravaggio to the "special mixture of masculine and feminine elements" (Garrard 7) of Gentileschi to the radically humanist and subversive work of Sherman. Although Sherman, the focus of this study, expropriates the style and.."
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"William Marshall: Knight-Errant, Baron and Regent of England" by Sidney Painter, 1992.
A critical review of the biography of the 12th century English leader.
2,250 words (approx. 9.0 pages), 1 source, $ 79.95
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From the Paper
"The purpose of this research is to examine a modern biography of William Marshal, an aide to the Plantagenet royal line in England in the medieval period. The plan of the research will be to set forth the context in which the biography is presented, and then to discuss the details of the life and the biography with a view toward suggesting the significance of the instant work, as well as what it may reveal about the historiography of the late twelfth and early thirteenth centuries.
As biographer Sidney Painter points out in his introduction, the mode of biography as a means of elucidating medieval history is rare. The reason for this is the paucity of primary (and for that matter secondary) contemporaneous written sources. Nevertheless, Painter's method of assembling the biography has..."
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Artist Frida Kahlo, 2004.
This paper discusses the legendary Mexican artist, Frida Kahlo, sometimes called a surrealist painter, Communist, and inspiration for one of the greatest painters of the 20th century, Diego Rivera.
2,605 words (approx. 10.4 pages), 8 sources, MLA, $ 78.95
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Abstract
This paper explains that Frida Kahlo?s physical suffering definitely stimulated her spiritual side as images came into her mind and then appeared in her paintings, similar to many physically handicapped artists, such as Toulouse-Lautrec. The author claims that the biography of Frida Kahlo, as written by Hayden Herrera, is perhaps one of the most interesting and complete stories about someone?s life that has ever been written. The paper contends that Kahlo is a type of traditional artist, called Mexicanism, which she embraced throughout her lifetime as a result of the Mexican Revolution of 1910 that resulted in a wave of nationalism throughout the country and prompted a new pride in traditional Mexican culture.
Table of Contents
Background Information: Biography and Reputation
Synopsis of Hayden Herrera?s "Frida: A Biography of Frida Kahlo"
Objective Critique
From the Paper
"Frida Kahlo was born on the 6th of July 1907 in Ciudad de Mexico as the third daughter of William Kahlo and Matilda Calderon. Her complete name was Magdalena Carmen Frida Kahlo Calderon. Her life was struck by misery ever since the beginning: in 1913, when she was six years old, she contracted poliomyelitis and her right leg was affected, appearing much thinner than the other throughout her life. She entered high school at the National Preparatory School, where she soon turned out to be the leader of a prank-oriented group of rebel teenagers. It was here that she came in contact with her future husband and soul mate, Diego Rivera, perhaps the greatest Mexican muralist who, at that time, was commissioned to paint a mural in the school auditorium."
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Military Preparedness in the United States, 2002.
An analysis of America's military power and readiness in dealing with the political climate of the new millennium.
1,400 words (approx. 5.6 pages), 7 sources, $ 53.95
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Abstract
This piece is a paper analyzing America's military readiness in the new millennium. The author takes the stance that due to the changing world political climate, rapid advances in technology, outdated perceptions regarding how the military functions, and a lack of appropriate funding, the military is not prepared. The author cites evidence that while "brush fire" wars are the future of modern combat and that rapid technological advancement is extremely promising, the armed forces are stretched too thin and still absorbed in a Cold War mentality inadequate for addressing the new concerns brought about by these two developments. The technology also has problems of its own, problems which will need to be addressed if America is to remain the world's dominant military power.
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Benjamin West, 2007.
An examination of the techniques employed by painter, Benjamin West, in "The Death of General Wolfe" and "Death on the Pale Horse".
1,467 words (approx. 5.9 pages), 8 sources, MLA, $ 48.95
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Abstract
This paper discusses the background and works of painter, Benjamin West. It begins by describing his rise to the level of an internationally recognized painter and then discusses in detail, some of his works. The paper describes West's techniques in "The Death of General Wolfe" and "Death on the Pale Horse." It ends with the writer's personal reflections on West's artwork and the meaning they convey.
Table of Contents:
I. Benjamin West
Portrait of Benjamin West
II. The Death of General Wolfe
A Touch of Bright
III. Death on a Pale Horse
IV. Who Immortalized Whom?
Personal Reflections
V. Present Treasures
From the Paper
"The Death of General Wolfe, an oil painted on canvas in 1770 by West, depicts James Wolfe's final moments during the 1759 Battle of Quebec, of the Neoclassical era. General Wolfe is reported to be portrayed West as a Christ-like figure in a triangular composition. ("The Death of General Wolfe") Benjamin West's prominence increased with his painting, The Death of General Wolfe, which portrayed the last moments of Wolfe, an English hero, on September 13, 1759. This visual symbol of the conquest of Canada during the triumph over the French at Quebec won West a massive amount of fame. In fact, James Northcote (1746-1831), who did not admire West, reportedly noted that anytime anyone spent five minutes with West, they would hear about his Wolfe."
"As West did not adhere to stringent prescriptions in color choices, some observers are taken aback that "The Death of General Wolfe" includes bright colors. The vivid hues' deep character, nevertheless, reconcile with this painting's tragic theme, while the "painterly sky" echoes the turbulence and tragedy occurring on the battlefield. Religious connections are embellished as the flag, with the arms of the men on the left stretched out, making a cross, reflecting "La Pieta,' a painting presenting the Christ being struck down. ("The Death of General Wolfe")"
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Claude Monet, 2002.
A study of the art of French Impressionist painter Claude Monet.
1,400 words (approx. 5.6 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper introduces the renowned 19th century French painter Claude Monet. It discusses his life and examines one of his works in detail. The paper argues that Monet is unquestioningly the father of impressionism, and paved the way for the abstract expressionism. The author states that Monet?s painting techniques rejected the standard art of time and came to influence painters today.
From the Paper
"Since childhood he displayed the geniuses of an artist when he produced some of his marvelous caricatures and supplied to an art store at the age of sixteen (Monet French). This is where he met Boudin who saw in him the germs of an emerging artist and convinced Monet to step out in the world to prove his ability to paint. In 1860 Monet came across Pissarro at the Acad?mie Suisse in Paris (Monet French). Monet?s love of art and painting faced many challenges and his career as a full-fledged artist saw many hardships (Monet French). "
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Michelangelo and ?The Creation of Adam?, 2004.
Biographical information about Renaissance painter, Michelangelo, and an analysis of one of his famous works, "The Creation of Adam".
2,061 words (approx. 8.2 pages), 7 sources, MLA, $ 65.95
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Abstract
Painter, sculptor, poet, and architect, Michelangelo dominated the art scene for almost the whole of the 16th century. This paper examines the time in history, known as the High Renaissance, in which Michelangelo created his masterpieces, touching on other painters of the time, such as Leonardo da Vinci. The paper then discusses Michelangelo's biography, patronage, and commissions. Finally, it presents a detailed analysis of "The Creation of Adam", a ceiling centerpiece in the Sistine Chapel.
From the Paper
"The artist depicts the sublime act of creating Adam through a simple touch of the finger. A touch, yes, but not completely physical: God?s index never touches Adam?s, but let?s us imagine God?s whole power. Between God?s index and Adam?s finger, one can see the glitter of a superior will and of a superior power. Symbolically, God is surrounded by angels and by an elliptical mantle that signifies the initial ?cosmic Egg? from which everything emerged. One can notice that Adam himself forms an ellipse, but only an incomplete one: he needs God?s soul-giving touch for him to complete himself as a being."
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