| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "SEXUAL PERSPECTIVES DUTCH BAROQUE ART": |
|
|
Sexual Perspectives in Dutch Baroque Art, 2003.
Examines male vs. female depictions of an "indecent proposal".
1,510 words (approx. 6.0 pages), 10 sources, APA, $ 49.95
»
Click here to show/hide summary
Abstract
This paper examines the dramatically different way in which male and female artists portray the same act - an 'indecent proposal' of money for sexual favors. To facilitate the comparison, artists are all Dutch painters active in the 1600s. Judith Leyster's "The Proposition" is used as the key female illustration of an indecent proposal, while a number of her male contemporaries (Baburen, Honthorst, Molenaer, Ter Borch, Vermeer) are examined for the male perspective.
From the Paper
In 1893, during a cleaning of The Jolly Toper, a painting acquired by the Louvre as a Frans Hals, a curious discovery was made. In the lower corner of the work was the emblem "JLS?" - the monogram of the previously-unknown artist Judith Leyster (1609-1660) . Though highly regarded in her own 17th century Holland, Leyster's work had been essentially lost until this accidental discovery. Leyster shared the fate of many female artists, whose work is often lesser known and not as favorably regarded as that of their male contemporaries. Works within a genre made by male and female artists often demonstrate sharp differences in the way each sex portrays the subject matter. Comparing Judith Leyster's The Proposition with several other similar works by her male Dutch contemporaries readily illustrates this point.
| |
|
English Baroque Art and Architecture, 2004.
This paper examines three masterpieces of Baroque art.
1,125 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper examines three masterpieces of Baroque art: Christophre Wren's St. Paul's in London, Inigo Jones's "Queen's House" and Anthony Van Dyck's portrait of Charles I. Characteristics of Baroque art.
From the Paper
The term Baroque is not one that tends to appeal to most art-lovers in the st century even though many people familiar with contemporary art might in fact have some difficulties in defining exactly what constitutes the Baroque style We just know that it's overly elaborate and impossibly found of the curve and the swirl But while we might well be justified in decrying the art of the Baroque as overly formal impossibly fussy and entirely inauthentic for our own tastes we must also remember the art of every
| |
|
Baroque Art, 2002.
A study of the true definition of Baroque Art.
785 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
»
Click here to show/hide summary
Abstract
This paper explores the two major modes of Baroque art, which are allied respectively with the Catholic and Protestant churches. It defines the art of this period as having a general sense of vitality and an emphasis on creating the illusion of movement. The paper explores the Baroque painting, sculpture and architecture, including the works of Rembrandt, Velasquez and Bernini.
From the Paper
"Unless we are scholars of art history we may have a somewhat distorted view of what constitutes Baroque art, for the term is often used in common parlance to mean any artistic or decorative object that is overly ornate and adorned with as many fripperies as it can hold. However, the term has actually a very precise definition, which this paper takes up as it explores the two major modes of Baroque art, which were allied respectively with the Catholic and Protestant churches."
| |
|
Baroque Art, 2004.
An analysis of Baroque art, including a comparison between Peter Paul Rubens and Caravaggio.
1,131 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper discusses the Baroque style of art that came about following the Renaissance period. The paper examines the artistic styles that made this period so unique. The paper introduces one of the most talented and gifted painters in Italy during this time, Michelangelo de Meris, also known as Caravaggio. The paper describes one of his most famous paintings, "The Madonna of Loreto" that reveals the true nature of the Baroque period. The paper also discusses the brilliant Flemish master Peter Paul Rubens who shared with his counterparts in Italy the desire to develop and spread the Baroque style.
Outline
Introduction
Caravaggio
The Madonna of Loreto
Peter Paul Rubens
The Journey of Marie de Medici
Helen Fourment and Her Children
From the Paper
"The artistic period known as the Renaissance continued without any sharp stylistic changes well into the 17th and 18th centuries; however, the art of this later period is often called Baroque, although there is no single Baroque style or set of stylistic ideals. Yet within the last one hundred years or so, Baroque has taken on the overall designation for the art of the period from circa 1600 to 1750. More recently, scholars have come to understand that Baroque styles were very different from those linked to the Renaissance. For example, during the Renaissance, art tended to be rather static, but during the Baroque, art became very dynamic and encompassed passion, opulence, a taste for the theatrical and introduced the virtuoso, being an artist that stood out from his contemporaries as a truly gifted genius."
| |
|
Baroque and Rococo Art, 2006.
This paper compares and contrasts the stylistic and ideological content in Baroque and Rococo art.
1,575 words (approx. 6.3 pages), 4 sources, $ 62.95
»
Click here to show/hide summary
Abstract
The paper explains that by examining the Baroque work of Carracci, Caravaggio and the contrasting work of Rococo artist, Antoine Watteau, one can see how they are compared and contrasted in art history. The paper discusses how the earlier Baroque style offered a painting technique which relied on dynamic chiaroscuro and color values, along with the greater emphasis on gigantism in the heroic poses offered by Caravaggio and Carracci. The paper notes that while the Baroque period lasted for nearly one hundred years, the changing climate of political and class based construct in painting veered into the pomp and circumstance of the French elite in the 18th century.
From the Paper
"This art study will compare and contrast the stylistics of Baroque and Rococo art. Although these two styles appear to be similar in their artistic painting techniques, the ideological content value of Baroque and Rococo art is very different. In many ways, Baroque will be examined for the humanistic and classical values in various paintings of this period. However, as art veered away from this strict Grecian content style, the highly dramatic and theatrically elitist "art for arts sake" arose within Rococo paintings. In essence, the initial classicism of Baroque art that sought deeper meaning in classical themes changed into a far more dramatic based on pomp and extravagance. The Baroque period is generally known to have begun in 1600 with major painters such as Caravaggio and Carracci creating classical styled paintings."
| |
|
Baroque Art, 2006.
This paper compares two painters who used the Baroque style of art.
1,086 words (approx. 4.3 pages), 4 sources, APA, $ 37.95
»
Click here to show/hide summary
Abstract
The paper discusses how the Baroque style dominated art and architecture throughout Europe in the 1600s. The paper defines this style as having a dramatic use of light. The paper compares the works of Caravaggio and Rubens and concludes that while both painters have succeeded--in the Baroque style--at depicting a portion of the passion of Christ, they have differences. Caravaggio is more firmly planted in the style of his time, evoking strong emotion with relatively simple, if dramatic, depictions whilst Rubens decorates the scene more than transporting the viewer into the emotion of the event depicted.
Contents:
Introduction
Caravaggio and Rubens
Conclusion
From the Paper
"The Baroque style dominated art and architecture throughout Europe in the 1600s, lasting in some places until about 1750 (Encarta, database online). The origin of the word is not certain. Some believe it was derived from the Portuguese word barocco or the Spanish word barueco, a word that referred to an irregularly shaped pearl (Encarta database online.) It should be remembered that pearls, baroque or otherwise, were only brought to Europe during the age of exploration, which slightly preceded what came to be called the baroque period of art. Baroque--or irregularly shaped--pearls would have been looked upon as doubly exotic and very dramatic, so it is not difficult to imagine the term being applied to art that was increasingly dramatic, even if the subject matter was not; the baroque painters had an affinity for Biblical subjects."
| |
|
Rococo and Baroque Art, 2007.
This paper discusses the evolution of eighteenth century visual arts.
2,024 words (approx. 8.1 pages), 8 sources, APA, $ 64.95
»
Click here to show/hide summary
Abstract
The paper analyzes the evolution of baroque art into the Rococo style of the 18th century. The paper examines the Baroque works of Annabale Carracci and Caravaggio and contrasts them to the work of Rococo artist Antoine Watteau. The paper shows how art evolved into a style that reflected government and new political ideologies in the Age of Diversity.
From the Paper
"The Rococo period as logically been constructed through the humanism and classical values instilled within the Baroque period. The rococo period in Europe reflects the ideological aims of visual art, which became manifest during the time of Voltaire, Rousseau and the American Revolution. Although the American visual arts did not reflect the extravagance of the monarchical pomp of the French courts, it is clear that Rousseau and Voltaire were struggling for a new type of liberation in within what might be called "the Age of Diversity". To truly understand the innovations in style for the Rococo period, one must evaluate the reasons why this form of visual design became realized in the 18th century. Certainly, the Baroque period was a continuation of the logic and reasoning that was instilled in the Age of Enlightenment--via classical design and visual art representations. In this manner, the Baroque period must be compared and contrasted with Rococo art to realize the impact of the highly stylized visual arts that emerged within the 18th century."
| |
|
Comparison of Renaissance vs Baroque Art, 2006.
A comparison of the Renaissance era with the Baroque era, focusing on the musical culture of both periods.
2,934 words (approx. 11.7 pages), 5 sources, MLA, $ 86.95
»
Click here to show/hide summary
Abstract
Renaissance and Baroque are no doubt the Golden Age in the history of humankind. The quantity of prominent figures in the both periods is innumerable. It is impossible to analyze even the minute part of their works in one short research. This research takes into consideration the major aspects of musical culture of the specified ages and focuses on finding differences between the two ages.
A) Introduction: Renaissance and Baroque
B) General Discussion
1) The Historical Background and Key Features of Renaissance
2) Baroque Age and its Characteristic Trends
3) Comparison of the Periods
4) The Great Composers of the Two Ages
C) Conclusion
From the Paper
"The art historian Giorgio Vasari first used the term ?Renaissance? in 1550. He used the word rinascita (Italian for rebirth) to describe the return of the ancient Roman manner of painting in the works of Giotto di Bondone. The word Renaissance acquired a wider meaning in the eighteenth century when Voltaire characterized the period between fourteenth and sixteenth centuries in Italy as the great age of human cultural achievement. In the nineteenth century, Jules Michelet and Jakob Burckhardt distinguished the era of Renaissance as a prominent historical period, which gave birth to the modern age. Everything started with the interest to antique culture of ancient Greece and Rome: imperishable beauty of ancient statues appeared before the eyes of the man after archeological digs, undertaken on the territory of Eternal city. The word "Renaissance" has to be understood in a wider meaning. It does not only describe the return of ancient culture, but it also symbolizes the unprecedented ascension of the literature, painting and architecture, as the golden age of human genius. Neither of the epochs produced such a great quantity of prominent figures in every sphere of culture. There are still no more notorious and respected painters, than Leonardo da Vinci, Rafael, Michelangelo. Fine arts depict the ideals of Renaissance most brilliantly. "
| |
|
Baroque Music and Art, 2002.
A overview of the Baroque era through an analysis of Bernini's sculpture of "St. Teresa" and Bach's "Sonata 2".
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
»
Click here to show/hide summary
Abstract
This paper discusses the special characteristics of the Baroque era and makes a comparison of Bernini's sculpture of St. Teresa with Bach's Sonata 2.
| |
|
Dutch Baroque Painting, 1996.
Social, moral & religious significance of portrayals of prostitution in 17th Cent. works of Cornelius Bega, Cornelius van Kittensteyn, Vermeer & others.
1,575 words (approx. 6.3 pages), 8 sources, $ 55.95
»
Click here to show/hide summary
From the Paper
"By the mid-seventeenth century, the style we have come to call Baroque was in full flower. 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..."
| |
|
17th Century Dutch Art, 2007.
A review of "The Art of Describing, Dutch Art in the Seventeenth Century," written by Svetlana Alpers.
1,061 words (approx. 4.2 pages), 0 sources, $ 37.95
»
Click here to show/hide summary
Abstract
This paper analyzes 17th century Dutch art and reviews the book "The Art of Describing, Dutch Art in the Seventeenth Century," written by Svetlana Alpers. The paper discusses Alpers' assertion that Dutch visual culture needs to be examined more closely in order to better understand the Dutch genre in its own terms. It briefly discusses the origins and technique of Dutch art.
From the Paper
"Was it the influence of Baconian philosophy or new excitement over technology and exploration...or simply a grounded earthy pragmatism the Dutch environment encouraged? Alpers exhaustively-researched book invites one to ponder not simply on the art but the people who place such emphasis on individuals and things. A closeness and fondness for the overlooked or underappreciated is in these works, an empathy that suddenly seems badly missing in Italian art. Not every facet of Alpers book succeeds; lengthy translations and unexpected foreign phrases complicate an already excessively complex academic text. Still one finds surprising anecdotal humor and a refreshingly allegory-free people in the Dutch - and a feeling that Alpers may be winning the argument for deeper meaning behind the elegant brushwork!"
| |
|
Human Sexuality and The Art of Tantric Sex, 2003.
An overview of the spirituality of Tantra and its connections with human sexuality.
1,400 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
Tantra, a Sanskrit word, has been defined as a ?holistic wisdom link between us and the universe we inhabit.? This paper examines Tantra, its practices, methods, and origins. It also explores and determines the benefits of participating in Tantric sex, physically, emotionally and spiritually. The paper also touches briefly on different resources available to those who are interested in learning and practicing the art of Tantra.
From the Paper
"While Tantra is not a religious philosophy, it does embrace a deep understanding of life, and an ancient art of living in harmony with self, others, and the world around us. Those who practice Tantra are encouraged to treat sexual energy as an ally, rather than something whispered about and avoided. The spiritual path of Tantra says that sexual intercourse is sacred and divine, not a sin. However, Tantra does not ask its followers to repress their sexual urges in order to encounter God, but rather it supports the development of the vital sexual energy inside each individual as the means of achieving union with God."
| |
|
Women as Sexual Objects in Art, 2002.
The paper discusses whether artists in general and Cindy Sherman, in particular, have moved away from accepting women as sexual objects towards giving them an autonomous identity.
1,236 words (approx. 4.9 pages), 4 sources, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
The paper analyzes a photograph by Cindy Sherman, based on Raphael's
famous portrait "Fornarina". It argues that while the original painting depicted women as "possessed" by men and therefore "owned" by the painter, the modern-era version de-objectifies the feminine form and gives women a sense of self-identity. The paper clarifies this point by pointing out that the model of the picture is also the photographer.
From the Paper
"In the view of Kate Linker (1983), there has been of late, a shift in the way we conceive of texts. We have moved, to a degree, away from the expressionist model, ?based on an expressive self and an emphatic reader, who reduplicates preconstituted meanings (1983, p. 391).? This shift further moves the reader or, in the case of the visual arts, the viewer, away from a fixed ideology which renders meaning as timeless and immutable rather than as shifting or in process. Linker (1983) suggests that in most representational visual art, there are abundant forms in which the very apparatus or content of work constitutes subjects as male, positioning women as unauthorized and illegitimate and as represented rather than representing."
| |
|
Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
»
Click here to show/hide summary
Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
| |
|
Sexual Harassment and Sexual Revictimization, 1992.
A proposal for a study to determine if there is a relationship between the experience of sexual harassment and the experience of sexual revictimization.
900 words (approx. 3.6 pages), 5 sources, $ 31.95
»
Click here to show/hide summary
From the Paper
"Sexual Harassment and Sexual Revictimization
Background to the Study
Over the last two decades, research studies have documented significant rates of child sexual abuse among both female and male children. Estimates for female children under the age of 18 who have experienced at least one incident of abuse ranges from 1 in 4 to 1 in 2.5 among nonclinical samples (Kohn, 1987; Wyatt, 1985). Estimates for male children are approximately 1 in 8.
There are a number of effects that have been associated with childhood sexual abuse, including psychological, sexual, and interpersonal difficulties (Briere, 1992). One additional problem that has been associated with early abuse is sexual..."
|
|
|
