| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "SCULPTURE PARTHENON": |
|
|
Sculpture of the Parthenon, 1999.
Analyzes aesthetics, historical & cultural meaning of ancient Athenian temple's art.
3,150 words (approx. 12.6 pages), 11 sources, $ 111.95
»
Click here to show/hide summary
From the Paper
"The Parthenon, built atop the Acropolis, was ancient Athens' greatest temple. It was dedicated to the worship of Athena Parthenos (the virgin), and the rich program of sculptural decoration was devoted to the glory of her city and her legend. The principal decorative aspects of the Parthenon are the following: the east and west pediments; the metopes, which are divided panels set below the roofline and pediments on all sides of the building; the frieze, which runs, uninterrupted, around the outside top of the cella, behind the peristyle; and the enormous statue of Athena Parthenos that was housed inside the cella. The statue disappeared long ago, and, since 1687, the Parthenon itself has been a ruin, with many of the surviving sculptural fragments dispersed around the world. But archaeologists and scholars have tried to reconstruct the.."
| |
|
Parthenon Sculptures, 1996.
5th cent. B.C. Greek works: style, examples, realism & idealism, subjects, composition, compared to Olympian works.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"The sculptures of the Parthenon represent a high point in Classical sculpture and a culmination in the centuries-long effort by Greek sculptors to fashion images that represent natural movement and repose. But, with the increased naturalism of the Classical era, it became difficult for artists to reconcile that realism with the ideal. In comparison with the other sculpture of the Classical era, the sculptures of the Parthenon (447-432 BC) represent a unique solution to this problem.
It might have been assumed that the expression of mood and emotion, which constituted the essence of the representation of the ideal, would be facilitated by greater realism. Yet increasing realism did just the opposite, and much of Classical sculpture is distinctly less inclined toward the ideal than.."
| |
|
Traditional Sculpture: Bernini and Canova, 2004.
This paper discusses the continuity of technique and style in traditional sculpture, from Antiquity to the Baroque and Neo-Classical periods, specifically in the sculpture of Italians Gianlorenzo Bernini (1598-1680) and Antonio Canova (1757-1822).
1,950 words (approx. 7.8 pages), 8 sources, MLA, $ 62.95
»
Click here to show/hide summary
Abstract
This paper explains that the mythical antique sculptures initially seem to have more features in common than differences with those of Bernini from the Baroque era and Canova from the Neo-classic era; but, upon closer examination of Bernini's 'Apollo and Daphne' and Canova's 'Cupid and Psyche', they are steeped in the attitudes and values of their own periods. The author points out that Bernini's 'Apollo and Daphne' reflects the religious emotionalism and exuberant decorative richness that spread all over Europe from Rome, while Canova's 'Cupid and Psyche' demonstrates the fusion of Christian values and Eighteenth century sensibility. The paper relates that, in classical art, the greatly prized qualities of nobility, grace, beauty, supreme physical strength, virtuosity and heroism is expressed in sculpture: Bernini and Canova seem to use the Antique period as an inexhaustible source of human qualities and emotions.
From the Paper
"Bernini's 'Apollo and Daphne' exemplifies sculpture from the Baroque period, and Canova's 'Cupid and Psyche' is a prime example of Neo-Classical sculpture. The very title 'Neo-Classical' suggests a strong identification with ancient art, but the movement was perhaps more of a reaction against the Baroque style. It sought to combine Christianity with the general sentiments and principles of the time. The Neo-Classicists condemned Baroque art for its excessive detail and lack of 'meaning'. John Flaxman once criticised the extravagance of Baroque sculpture, describing it as all about 'twisted heads, full bodies, fluttering draperies; all wrists and ankles and bombastic attitudes'. In comparison to Bernini's Daphne and Apollo', Canova's 'Cupid and Psyche' is an unadorned sculpture."
| |
|
Greek Sculpture, 2002.
An exploration of Greek Sculpture in the 4th century BCE with an emphasis on the work of Praxiteles and Lysippos.
1,150 words (approx. 4.6 pages), 4 sources, $ 44.95
»
Click here to show/hide summary
Abstract
This paper will explore the innovations and aesthetics of Greek sculpture of the fourth century B.C.E.. Beginning with a discussion of the styles of Greek sculpture in the preceding century, the radical changes that were introduced into artistic design by artists of the fourth century B.C.E. will be outlined. Particular attention will be paid to two of this century's greatest artists: Praxiteles and Lysippos. Their influence upon both contemporary and later sculpture will be discussed through an analysis of later Roman copies.
| |
|
Greek Sculpture, 2002.
A study of the history of classical Greek sculpture.
1,050 words (approx. 4.2 pages), 5 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
The Greeks honored the gods through sculptures. This paper examines the triumphs and advances of Classical Greek sculpture during the different periods in Greek history.
Outline
Introduction to Classical Greek Sculpture in Historical Perspective
Transition from Archaic Period to Early Classical (ca. 480 BCE) favoring Contrapposto over Koroi.
High Classical Period (450-430 BCE) Symbolized by Athenian Acropolis.
Late Classical Period (430-323 BCE), between Peloponnesian War and the Death of Alexander the Great,
Conclusion: Hellenism Marked by Influence of Alexander the Great?s Travels.
From the Paper
"Rigid kouroi and kourai softened into the marble marvels of the works of Phidias and Polycletius. The pursuit of perfection was itself honed like the artists? bronze and stone palettes as larger-than-life statues graced majestic monuments and temples. Increasingly realistic bodies, viewable from all possible angles, epitomize Classical Greek sculpture. The Archaic period preceding it demonstrated the Greek values of perfection and symmetry; these qualities were held under scrutiny during the following centuries. Close scrutiny of the human form in action and as a stationary body yielded tremendous improvements in the effectiveness and accessibility of sculpture during the Classical Age of Greece. "
|
| Term Paper # 7883 |
temporarily unavailable
|
|
|
|
Sculpture in the Middle Ages and Renaissance, 1990.
Describes sculpture in the Middle Ages and in the Renaissance as ascending in relative importance during these periods. Examines elements of sculptures from each period, such as: "The Virgin", "Christ", "David", "Rape of the Sabine Women" and "Narcicuss".
900 words (approx. 3.6 pages), 2 sources, $ 31.95
»
Click here to show/hide summary
From the Paper
"Sculpture in the Middle Ages and the Renaissance had different forms and different styles, but in each case sculpture as an art form changed from the previous era to a more important position in relation to other types of artwork and in relation to the purpose of sculpture itself. In the Middle Ages, sculpture achieved an importance in itself that it did not have in the late medieval period in Europe. In both the Middle Ages and the Renaissance era, sculpture involved a revival of certain earlier forms and styles as well, recalling an earlier period and Classical originals in the case of the Renaissance.
The era of the Middle Ages is divided into more than one period. Janson (1986) notes that during the Romanesque period, there was a revival of monumental stone sculpture that was remarkable because there had been no indication before that this..."
| |
|
Architecture and Sculpture, 2007.
A comparison of function and construction of Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral."
1,061 words (approx. 4.2 pages), 3 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
This paper compares two famous works of art - one sculpture and one of architecture. It examines Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral." It compares their structure, materials, function, how they were constructed, the type of structure, their purpose and the length of time it took to construct them. The paper also compares them with regard to proportion and their similarities in characteristics of visual and design elements.
From the Paper
"As to function, they provoke the same sentiment: awe. The "David" looks down briefly upon the viewer and one's eyes wander to his hands or arm or slingshot and one marvels at the holiness of God. The same may be said of the cathedral. When one stands in the entrance and views the enormity of the vault, the lights and color of the stained glass windows, and how constructed (Spiro 335), one wants to remain in the atmosphere, All the parts work together to bring about a sensation of holiness and awe. The central nave is in the shape of a cross, with the top of the cross at the altar and the two arms stretched out on either side. The cathedral was assembled from millions of stones, which were then laid, or installed on the site where it was needed. The "David" material (a large piece of marble and a slingshot in his hand,) is simply a single piece of marble."
| |
|
Classical Roman Sculpture, 2002.
An analysis of the artistic depictions of barbarians in classical Roman sculpture.
2,900 words (approx. 11.6 pages), 9 sources, $ 106.95
»
Click here to show/hide summary
Abstract
This paper will examine the representation of barbarians in Roman art, and particularly sculpture. It will be argued that the primary mode of representation of barbarians in Roman art occurred within the iconography of empire, where the barbarians represented the Roman "other" whose existence as defeated figures reflects on the power and grandeur of Rome. However, it will be seen that there exists significant variations in the depiction of barbarians even within this iconographic code. The primary variation, it will be argued, occurs between the sculpture of the imperial center and that of the periphery. While in Rome the obsession with realism governed the artistic representation of barbarians for centuries, on the frontiers of the empire barbarians were often represented by "barbarian" artists, with significant departures from the dominant mode of realism.
| |
|
Women in Hellenistic Sculpture, 2005.
This paper discusses the representation of women in Hellenistic sculpture.
2,250 words (approx. 9.0 pages), 10 sources, $ 89.95
»
Click here to show/hide summary
Abstract
This paper looks at the Hellenistic period that covers some 300 years, from 323 B.C. to 31 B.C. The writer discusses the great political changes of the Hellenistic regime during this period. In this article, the writer studies the portrayal of women at this time in Hellenistic sculpture.
From the Paper
"The Hellenistic period covers some 300 years, from 323 B.C. to 31 B.C. The beginning of the era was marked by the death of Alexander the Great, and the end came with the Roman conquest of the Hellenistic regime. There were massive political changes during this time period, as the self-contained city-states suddenly gave way to the much more loosely organized domains of the Hellenistic kings. In addition, Greek cities were now founded far to the East of the previous boundaries of Hellenism."
| |
|
The Sculpture of Venus Doidalsas, 2000.
An in depth look at Praxitiles' sculpture, "Venus of Doidalsas".
820 words (approx. 3.3 pages), 3 sources, $ 29.95
»
Click here to show/hide summary
Abstract
This paper looks at Praxitiles' sculpture, "Venus of Doidalsas", the mythological figure of love and beauty. The author describes the artist's use of technique and symbolism to portray her importance and human qualities.
From the Paper
"The statue of the Roman goddess, Venus, is a marble copy of an earlier work by Praxitiles. It is based on the famous Aphrodite of Praxitiles, which was made for the goddess?s shrine at Knidos. This fourth century BCE masterpiece is currently displayed at the Walter?s Art Gallery in Baltimore. The sculpture Venus shows the audience that viewers her, a perfect body, beauty, and sex. We will observe this sculpture to find inward and outward sensations, form, and awareness to shape."
| |
|
Praxiteles' Sculpture "Aphrodite of Knidos", 2000.
A discussion on thy this statue is considered the apotheosis of Greek sculpture.
1,261 words (approx. 5.0 pages), 15 sources, $ 42.95
»
Click here to show/hide summary
Abstract
This paper presents an overview of the one particular sculpture by the ancient Greek master, Praxiteles. The paper includes illustrations.
From the Paper
"The entire beauty of the earth has been preserved by the many forgeries that attempted to capture the genius of Praxiteles. He set the standard for later depictions of the goddess. Roman copies are often criticized for not portraying the form's magnificent presence. The classical Greek sculpture, Aphrodite of Knidios, changed the way women were denoted in future artworks. The visual representation of the goddess of love and beauty provided the ancient world with a positive view of female sexuality."
| |
|
Japanese Sculpture, 2002.
A look at the uses of Naturalism and Realism in Japanese sculpture.
1,400 words (approx. 5.6 pages), 4 sources, $ 53.95
»
Click here to show/hide summary
Abstract
This six-page paper presents a detailed and in-depth discussion about realism and naturalism in Japanese art including and focusing on sculpture. The author takes the reader on a look at the history of the art form as well as the current use of the concepts in the modern artist's repertoire.
| |
|
Sculpture's Depiction of Suffering, 2005.
A review of the four contrasts of meaning in the art of sculpture.
2,250 words (approx. 9.0 pages), 10 sources, $ 89.95
»
Click here to show/hide summary
Abstract
This paper examines Rodin's "The Gates of Hell", the "Palette of King Narmer", Auguste Preault's "Slaughter" and Edward Keinholz's "The State Hospital", in terms of what they convey of suffering, the human condition, the origin and results of suffering, across cultures and periods. Through this paper, one realizes that suffering as depicted in sculpture has different meanings, according to theistic or other culture and how the individual is anticipated to respond to it.
From the Paper
"A theme of human suffering has appeared, many times, in sculpture, and as this paper conveys, in remarkably different periods. Examining Rodin's 'The Gates of Hell', 'the Palette of King Narmer', August Preault's 'Slaughter', and 'The State Hospital' by Edward Keinholz is not as curious an exercise as it may, at first, seem. Emily Vey Duke argued that, "art is for empathy, and empathy... for the reduction of suffering". (Suffering, 2005, 8) However, the very different works discussed in this paper indicate something different, even if some similarity is found in the way that suffering is their foremost, memorable message."
| |
|
Sculpture in the 1980s, 1990.
This paper discusses modern sculpture in the 1980s: Styles, trends, major artists and works, influences, diversity of approaches, assemblages and environmental art.
2,700 words (approx. 10.8 pages), 7 sources, $ 95.95
»
Click here to show/hide summary
From the Paper
"This paper will be concerned with modern sculpture in the 1980s. It will analyze the styles and trends that predominated during that decade. In addition, it will discuss the major artists involved in sculpture in the 1980s, their influences, and their major works. Sculpture in the 1980s differed from that of earlier periods in that there was a wider diversity of styles than ever before. In fact, many art critics resorted to using the label "postmodern" to express the fact that there had been no new organized movements in art since the early 1970s. In this regard, it has been noted that the American art scene in the 1980s was characterized by "the proliferation of sculpture in seemingly limitless stylistic approaches, techniques, and materials" (Friedman 7). One of the few things that most sculptors in the 1980s had in common was the tendency to create ... "
|
|
|
