| Papers [1-15] of 31 :: [Page 1 of 3] | | Go to page : 1 2 3 —> | Search results on "RAPHAEL": |
|
|
Raphael Hythloday vs. Folly, 2004.
A character comparison of Thomas More's Raphael Hythloday in "Utopia" versus Erasmus's use of Folly as a narrator and character in "The Praise of Folly".
1,092 words (approx. 4.4 pages), 0 sources, $ 38.95
»
Click here to show/hide summary
Abstract
The use of Raphael Hythloday and Folly, although both spring from documents that attempt to highlight a truth about 'real' society through the construction of fictional worlds, differ substantially in the way that these characters are used in their respective Christian tales. This paper explains that, while Folly is a allegorical name whose title represents his character and the world he is located within, Raphael Hythloday functions in a more multi-faceted fashion as an 'everyman' and also an idealized conception and model for the reader to follow through Utopia. It shows how Folly is all the reader aspires not to be, while Raphael Hythloday is a guide.
From the Paper
"The differences between these two characters is primarily evidenced by the fact that More attempts to construct a genuine Utopian vision, while Erasmus' work uses his titular character to take the reader on his satirical vision through a world even more wrong-headed than the true world. Although both men were colleagues and Christians, these two individual's ways of expressing their mutual dislike with the current state of Christianity in the political environment around them had a completely different narrative and tonal gloss than the other author's and Christian's vision. More perceives idealism, with certain gentle notes of humor to be the best way to guide a Christian reader to truth. Erasmus sees a scathing wit to be the best way of forcing the reader to look within him or herself and apply a critical eye upon his or her character."
| |
|
The Late Renaissance Artist Raphael, 2005.
This paper discusses the life and work of the late Renaissance artist Raphael, especially his Sistine Madonna.
2,225 words (approx. 8.9 pages), 6 sources, MLA, $ 69.95
»
Click here to show/hide summary
Abstract
This paper explains that, in his very short life, Raphael completed a almost countless number of works of art, which were diverse and exquisite because he was able to easily draw in any style. The author points out that, in the painting called "Sistine Madonna", Raphael established a balance between the exuberant naturalism, which was heralded in the early Renaissance, and the spiritual idealism, which had been prevalent in the Dark Ages. The paper describes in detail the "Sistine Madonna" and compares it with several other Madonnas drawn by Raphael.
From the Paper
"He used the newly developed techniques of mathematical perspective that gives the painting the illusion of real space through his intense study of nature. The composition is geometrical, as was Raphael's signature, shaped in a rhomboid, with the head of the Madonna at the apex and St. Sixtus and St. Barbara at the sides with the two cherubs at the base. The Madonna is elevated above the two saints that also form a triangle, between the three figures heads. At their feet, St. Sixtus is standing lower than where St. Barbara is kneeling, so the triangular shape falls to the left and produces a very appealing movement to the left, slowly."
| |
|
Raphael Sanzio, 2007.
An outline of the life and works of artist Raphael Sanzio.
1,028 words (approx. 4.1 pages), 4 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
The paper describes Raphael Sanzio as a prolific and gifted sixteenth century painter. The paper relates that he primarily concentrated on works with a religious focus and is best known for his many depictions of the Madonna. The paper provides a brief biography of his life and concludes that although he died a young man, Raphael Sanzio has a deservedly prominent place in art history.
Outline:
Biography
Inspiration and Artistry
The Madonnas
School of Athens
Conclusion
From the Paper
"Raphael was born in Urbino, Italy, on April 6, 1483 (Urton par. 1). Much of his early artistic training came from studying with his father, Giorgio Vasari, who Emil Kren and Daniel Marx describe as "a man of culture who was in constant contact with the advanced artistic ideas current at the court of Urbino," although he did not have great artistic skill himself. After his father's death, Raphael went on to study with Pietro Perugino, in Perugia, Umbria, where he may have arrived as early as 1495 (Urton par. 1, Kren and Marx par. 4). Kren and Marx indicate that he was already called a "master" by 1505, at which time he received his first major commission (par. 4)."
| |
|
Leonardo vs. Raphael, 2005.
A comparative analysis of Leonardo da Vinci's "The Last Supper" and Raphael Santi's "Expulsion of Heliodorus".
856 words (approx. 3.4 pages), 3 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper examines how the two renowned paintings Leonardo da Vinci's "The Last Supper" and Raphael Santi's "Expulsion of Heliodorus," both illustrate the magnificence of two especially dissimilar, yet very alike paintings. It attempts to show how, although they were created about fifteen years apart, with different types of medium and on two different biblical applications, these paintings are still very similar and are both great examples of Renaissance artwork.
From the Paper
"The well-known Leonardo da Vinci's painting of "The Last Supper" was created unlike the other paintings; this was painted with oil on tempra on an extended wall. "The Last Supper" was not painted with fresco, because da Vinci wanted to be able to go back and refine each detailed section of his mural. According to Alberti, "The highest challenge that the painter can face is the type of picture called an 'istoria' - literally meaning a 'story,' a composition with human figures, ideally, a narrative" (Williams, 57). With this heightened drama scene, a more realistic outlook is given to the audience, highlighting the importance of this painting, which depicts the very moment that Jesus Christ reveals that one of his disciples will betray him."
| |
|
Bruegel, Raphael and Leonardo da Vinci, 2005.
A comparative analysis of the works of Bruegel, Raphael and Leonardo da Vinci.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
»
Click here to show/hide summary
Abstract
This paper discusses how various painting techniques of the Flemish painter Bruegel are similar, yet differ on various points. It looks at how the use of Christian iconography is the most obvious similarity, which is found within all three of the paintings chosen for this study.In comparison, it looks at how the anatomical characteristics of Leonardo and Raphael are clearly based on observational realism, rather than the abstraction that Bruegel finds in the main characters that surround Jesus after his birth.
| |
|
Raphael's "School of Athens", 2006.
An observation and analysis of Raphael's "School of Athens" as a classical and Renaissance work.
1,345 words (approx. 5.4 pages), 4 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
Addressing multiple interpretations of the piece, this paper identifies and discusses the importance of the content's of Raphael's "School of Athens." It analyzes the figures and architecture in the piece in relation to the philosophy, religion and schools of thought of both the classical and Renaissance time periods.
From the Paper
"Raphael's School of Athens, a fresco located within the Vatican, depicts a gathering of figures that appear to be philosophers and other important thinkers and innovators within an architecturally Classical structure. School of Athens contains many references to the art of the world hundreds of years before, but is also a distinctively Renaissance piece. Detailed observation and analysis provides more information on both the subjects of the painting and details of its setting, as well as insight into the ways Raphael was able to seamlessly blend Classical times with Renaissance times. Further study of the work and its subjects reveals the complex symbolism used by Raphael and reveals multiple levels of interpretation. The work contains so many references, both obvious and slightly hidden, to philosophy, religion, and architecture (and the relationship of these subjects to the culture and thinking of the Renaissance and Classical worlds) that multiple ideas and interpretations of the work are common. In a piece of such depth and detail, one must be able to understand the range of notions about the work and the areas of emphasis placed on certain aspects of the piece in order to truly understand Raphael's accomplishment in School of Athens."
| |
|
Poverty in Canada: The Research of Dennis Raphael, 2008.
An analysis of the writer's awareness of poverty in Canada and recommendations for action, following a reading of Dennis Raphael's book, "Poverty and Policy in Canada."
2,283 words (approx. 9.1 pages), 1 source, MLA, $ 70.95
»
Click here to show/hide summary
Abstract
This paper discusses Dennis Raphael's book, "Poverty and Policy in Canada." It specifically focuses on the writer's new-found awareness of the pervasiveness of poverty in Canada and what factors - political and economic - appear to be perpetuating it. Finally, the paper looks at some actions ordinary Canadians can take to reduce poverty in their country.
From the Paper
"With the political and business communities not helpful in the war on poverty, it is clear that the general public will have to take matters into its own hands by loudly supporting organizations and interest groups committed to social welfare reform. At the same time, people need to contact corporations and politicians and pressure them to do more to alleviate poverty in this land. Of course, simply complaining about poverty is the wrong approach - and, in any case, a truncated one. Instead, the avenue Canadians should pursue is to take from the aforementioned parties something they want: in the case of businesses, that would be consumers; in the case of politicians, that would be votes. Thus, concerned citizens should boycott selected organizations that will not assist workers and which enthusiastically embrace outsourcing. At the same time, people should use the ballot box to throw out governments that are unresponsive to the poverty issue. This approach, which is really a two-pronged approach, is the best one for the significant reason that interest groups rarely move off of a position unless pressure compels them to do so."
| |
|
Raphael's "Madonna and Child Enthroned with Saints", 2005.
Describes and analyzes Raphael's "Madonna and Child Enthroned with Saints."
900 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper describes Raphael's famous painting "Madonna and Child Enthroned with Saints." The paper provides a history of the painting. The author analyzes its composition and colors as well as the conservative style of the painting and its classical details.
From the Paper
"Rafaello Sanzio, known as Raphael, painted the "Madonna and Child Enthroned with Saints" early in his career The painting was an altarpiece executed for the small Franciscan convent of Saint Antonio de Padova in Perugia and hung in the part of the church reserved for the worship of nuns. (Metropolitan Museum of Art) Also known as the Colonna Madonna or Altarpiece, a reference to Raphael's patrons, the powerful Colonna family the work consists of two main sections..."
| |
|
Albrecht Durer, Raphael, and Bronzino, 2004.
An examination of the works of Albrecht Durer, Raphael, and Bronzino.
1,795 words (approx. 7.2 pages), 6 sources, MLA, $ 57.95
»
Click here to show/hide summary
Abstract
This paper examines how, between the years 1495 and 1538, following the Byzantine/Gothic periods, a powerful new vitality was stirring among the great thinkers and artists, which eventually brought about significant and beneficial changes in the world of art. It looks at how, at the threshold of the modern world, the artist came into his own and successfully claimed his work as being among the fine arts of man created during the Renaissance period. In particular, it explores how, out of the many men who created this epoch of magnificence in artistic expression, three individuals are of great importance: Albrecht Durer (1471-1528); Raphael (1483-1520); and Bronzino (1503-1572). It examines their lives and reviews some of their most famous pieces of art.
From the Paper
"As an artist, Albrecht Durer became the first northerner (being from Germany) to travel to Italy for the prime reason of studying Italian art and its underlying theories. Although Durer did not always succeed in fusing his own native German style with the Italian manner, he was the first northern artist to fully understand the basic aims of the southern Renaissance. His artistic point of view had much to do with his feeling for the form-creating possibilities of line which enabled him to create a body of work in woodcut, engraving and painting. While the art of the Renaissance Period in Italy expressed the monumental grandeur and majesty of figures, color and light, Durer united the northern sense of minute realism with the Italian tradition of balanced forms, massive and simple."
| |
|
Raphael, Da Vinci and Michelangelo, 2005.
A paper on the master artists of the High Renaissance: Raphael Sanzio, Leonardo Da Vinci and Michelangelo Buonarroti.
1,418 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper looks at how these masters, by making their figures come alive as if made out of flesh and blood, symbolize the loftiest goals of the High Renaissance. The paper further looks at how the artists created a new artistic profession that exhibited its own rights of expression, its own character and its own claims to greatness within western civilization.
From the Paper
"Within a thirty year span, beginning approximately in 1495, the city of Rome replaced Florence as the Italian seat of artistic pre-eminence. A series of powerful and ambitious popes, most notably Julius II and those associated with the rich and powerful De Medici family run by Cosimo De Medici and later on by Lorenzo De Medici, created a new papal state with Rome as its capitol and artistic center of Europe. These popes embellished Rome with great works of art and invited artists from all over Italy to take on some very challenging tasks. In its duration, the "High Renaissance" (ca. 1492 to 1520) produced works of such authority and magnitude that later generations of artists were forced to imitate it in order to compete with the growing competition within Italy and northern Europe. The various masters of this period had of course inherited the pictorial science of their predecessors, yet they made a distinct break from the past and occupied new and lofty ground that had never been explored before."
| |
|
Raphael's "The Small Cowper Madonna" and Angelico's "Madonna and Child", 2002.
This paper analyzes the two paintings, comparing and contrasting the two from an art/history perspective.
1,030 words (approx. 4.1 pages), 0 sources, $ 36.95
»
Click here to show/hide summary
Abstract
The paper compares and contrasts these two Renaissance interpretations of the Madonna and Child. It looks at the differing stylistic elements and discusses why the paintings are significant works of art for their timeframe. The attempt to blend the real world with the spiritual is explored and the painters' different techniques in their quest to achieve that blending are studied. The paper concludes with a concise summary of the similarities and the differences between these two paintings.
From the Paper
"Raphael spent several years in Florence where he produced seventeen images of the Virgin Mary and Child. During that time, Leonardo da Vinci and Michelangelo were his primary teachers, which would account for his stylistic rendering of the Madonna and Child. The Small Cowper Madonna, which was done in oil on wood and was completed around 1505, reflects the innovations that he learned form his years with Leonardo. He mirrored the Florentine method of painting that concentrated on intimacy and simplicity of the setting."
| |
|
Samson Raphael Hirsch & Nachman Krochmal, 1996.
Examines ideas of two 19th Cent. Jewish intellectuals & relates them to political & spiritual development of state of Israel.
5,400 words (approx. 21.6 pages), 12 sources, $ 135.95
»
Click here to show/hide summary
From the Paper
"The purpose of this research is to examine the work of Samson Raphael Hirsch and Nachman Krochmal with reference to the political realities of the State of Israel. The plan of the research will be to set forth the context in which the views of Hirsch and Krochmal emerged vis-a-vis the concept of a Jewish state, and then to discuss nationhood, culture, and human experience that mark that concept and provide relevance for their views in the modern period.
To discuss Hirsch and Krochmal with regard to a modern Israel is to note that their intellectual work must be regarded as foundational. Much that is now presumed to be philosophically sound and generally accepted by Jewish tradition regarding the rationale for a Jewish homeland was by and large unthinkable in the early 19th century, when they were elaborating their views of...:"
| |
|
Italian Renaissance and Artists, 2004.
An examination of the influence that Leonardo da Vinci, Michelangelo, and Raphael had on the European culture during the Renaissance.
2,508 words (approx. 10.0 pages), 9 sources, MLA, $ 76.95
»
Click here to show/hide summary
Abstract
Renaissance ("Rebirth") refers to the period after the Middle Ages when a series of dynamic intellectual, cultural, and artistic movements, from the 14th to 16th century, catapulted Europe towards rapid development, leading to the Age of Enlightenment, the Industrial Revolution and modern times. During this rich period of exciting developments in arts, sciences, and politics, Italy was the major catalyst and became the cultural leader of Europe. It also produced several outstanding artists, such as Leonardo da Vinci, Michelangelo, and Raphael, who changed the face of European art forever and are worthy representatives of the Renaissance era. This paper is about the Italian Renaissance and the impact of the three great artists on European culture.
Outline
Background
Italian Renaissance and its Emphasis on Art
Leonardo da Vinci (1452-1519)
Michelangelo Buonarroti (1475-1564)
Raphael (1483-1520)
Conclusion
From the Paper
"The period following the eclipse of the Roman Empire around 500 AD until the start of the "Renaissance" at the start of the 14th century is known in history as the Middle Ages of Europe. The period saw the rise of Christianity and the power of the Church that became a major influence in culture as well as politics. The Christian doctrine focused on salvation and the life hereafter and de-emphasized the worldly life and possessions. The period also saw the rise and spread of Islam, although most of Europe remained under the Byzantine Empire and a fragmented West. Italy's cities and towns in general became largely depopulated and the country, as a whole, became a rural society after the fall of the Roman Empire. This situation lasted until the 11th-12th century when Italy's strategic location on the trade routes between Western Europe and the Muslim world and Asia helped revive commercial and trade activity in the region."
| |
|
Two Contrasting Characters.
This paper compares Thomas More's tour guide, Raphael Hythloday, of "Utopia", and Erasmus's teacher of rhetoric, Folly, in "The Praise of Folly".
925 words (approx. 3.7 pages), 0 sources, $ 32.95
»
Click here to show/hide summary
Abstract
This paper explains that Erasmus's Folly narrates the story, attempting to harshly instruct the reader about different kinds of folly in the manner of a discerning, dissecting orator, whereas, More's Raphael Hythloday speaks as a humble, ordinary man of an extraordinary place, Utopia. The author points out that both characters, although functionally different, have an allegorical quality to their naming; Raphael is named after an angel, and Hythloday means 'sweetness all day' in Latin. The paper relates that both More and Erasmus wrote their works to highlight what they disliked about religious and moral life of their time; but, through the use of different techniques, one showed what was wrong through irony and dissection, and the other showed what a better life would be like by stressing how different it was from the real present.
From the Paper
"More the author may be writing as a critic, but Raphael Hythloday has transcended the office of critic in the universe he inhabits, while Erasmus' Folly is still dwelling in the world of the intended reader. This is another reason why More may have chosen to narrate Utopia, not purely using Raphael's voice, but using his angelic character as kind of a guide. In contrast, Erasmus writes very much as a satirist or critic out of the Latin school of rhetoric, where orators use irony to deflate the follies of the individuals in the world around the reader. "Tell me by Jupiter," Folly says at numerous occasions, as if he is assuming the persona of the Roman speaker, or a teacher of the classics."
| |
|
"The Madonna and Child", 2002.
Shows how both artists, Giovanni Bellini and Raphael represented the Madonna and Child through their works.
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
»
Click here to show/hide summary
Abstract
This paper will compare and contrast two representations of the Madonna and Child by two artists who have been particularly associated with the representation of this motif - Giovanni Bellini and Raphael.
|
|
|
