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Steel Sculptures, 2004.
A discussion of the role of steel as an art medium for modern sculpture.
3,486 words (approx. 13.9 pages), 12 sources, MLA, $ 98.95
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Abstract
This paper begins with a brief introduction to contemporary sculpture and then investigates some of the issues associated with steel as an art medium for sculpture. It looks at how steel has innumerable qualities for the artist seeking to create structural integrity and also allows the artist to create freely and to use form and space to complete a piece that has spatial depth and perspective. It focuses on the works of several artists, including Pablo Picasso, David Smith, Richard Serra, and others.
Outline
Introduction
Discussion
Introduction to Contemporary Sculpture
Using Steel
Artists and their Use of Steel
The Artists? Works
Summary
From the Paper
"In the art world, this does not seem to be a surprise. Artists work in the medium that they are not only comfortable with but also that may resonate with their feelings, i.e. an expression of how they view the world. The idea of art is to create something that expresses the artists? thoughts and concept of the world and this is often very personalized. It would be hard to imagine a female artist identifying with the hardness, coarseness and coldness of steel. That is not to say that it cannot be considered but the contemporary sculptures who work in the steel medium certainly seem to lean towards the male population of artists."
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Sculptures, 2002.
An art appreciation paper about two sculptures - Brancusi?s "Golden Bird" and the 8th century statue of a "Bodhisattva".
2,158 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
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Abstract
This paper discusses the two works of art - both of which are on display at the Chicago Institute of Art - as examples of sculpture although their creation is separated by 13 centuries. It looks at their differences and their similarities. The paper includes a picture of each sculpture as well as essential facts.
From the Paper
"Indeed, it is the differences in these two works that are more glaring than their similarities. The bodhisattva is a religious icon. It has extremely practical uses in Buddhist worship. It also acted as a sort of moral compass for its viewers; bodhisattvas were beings who had almost achieved enlightenment and could have attained nirvana, but their feelings of charity have caused them to stay in the world and attempt to help others achieve Nirvana. As a result, the bodhisattva provides an image of what a charitable being looks like. In this sense, the bodhisattva, although a beautiful work, has a moral and religious dimension that is as primary as its aesthetic appeal. Also, the statue was created according to strict rules of tradition, with little room for individual innovation. Brancusi?s statue on the other hand is a nonrepresentational form created according to no traditional template. Brancusi claimed that his material was the major guiding force in his work. He believed that the forms presented themselves from out of the material itself. Thus, although the two artifacts are both examples of sculpture, the bodhisattva is a devotional piece that has major religious and ethical implications, whereas Brancusi?s Golden Bird is a self-sufficient meditation on form that attempts to reveal its own essential nature by the free play of its forms."
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Greek Sculptures, 2003.
A comparison of two Greek sculptures: The "Nike of Samothrace" and the "Three Seated Goddesses" of the Parthenon.
1,807 words (approx. 7.2 pages), 2 sources, MLA, $ 58.95
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Abstract
This paper provides a thorough comparison of two pieces of art. It compares and contrasts them ,not only on their aesthetic properties, but also their historic and symbolic value.
From the Paper
"Of all of the ancient cultures, few are as compelling as the Greeks. Their relatively short lived culture has had a larger influence on its modern counterparts than any before or after it. They gave us grounding in our architecture; very few of our government buildings don?t borrow something from Greek architecture, especially in the use of columns, and the golden ratio, developed by Eucliud, is still a common fall back for many designers. The political philosophy of Greece also continues to inspire us. As the first truly successful democracy, their ideas on court and jury systems, as well as the fundamental ?on man, one vote? practice, can be seen in our everyday lives. Most importantly, Greek art transformed all art in the world forever after. Though we don?t encounter many examples of it in our everyday lives, current art is owed much credit to the Athenians and their kin. Greek art took leaps and bounds in just a couple hundred years, especially in the area of sculpture. Huge changes in the way cloth and drapery was represented as well as the change to more natural poses of human figures took place at this time. Two wonderful examples of these modernizations were the Three Seated Goddesses of the Parthenon and the Nike of Samothrace, which are so alike at first glace, yet are such opposites on any deeper level. They are practically identical in technique, yet their themes and other subtle qualities differ in many ways."
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Auguste Rodin's Sculptures, 2002.
An analysis of love and suffering in the works of Auguste Rodin.
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
This paper will discuss the revelations of suffering and love that abound in the sculptures of Auguste Rodin. In this manner, we can analyze the different sculptures that he is known for, and show these themes in his work.
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The Triad Sculptures of Menkaure of Giza, 2005.
A discussion of the triad statues of Menkaure.
1,575 words (approx. 6.3 pages), 7 sources, $ 62.95
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Abstract
The paper examines the triad statues of Menkaure, their history and the background of the subjects. The paper explores the history of the discovery of the statues and provides a detailed examination of the sculptures themselves. The paper also gives examples of these works for analysis.
From the Paper
"This paper shall discuss the triad statues of Menkaure. The paper will further examine the history of the sculpted works, as well as the background of the subjects. The paper will explore the history of their discovery and then provide a detailed examination of the sculptures themselves. The paper will also provide examples of these works for analysis."
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Comparison Of Two Sculptures, 2002.
Examines works of art of the Egyptians and Greeks in the Hellenic era.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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Abstract
Works of art of the Egyptians and Greeks in the Hellenic era. Shared characteristics of the two ancient societies. Describes Egyptian statue of "Ranofer," a limestone sculpture of a standing male. Compares it to the Greek "Kouros," a life-sized marble figure of a male youth. Human orientation of Greek art.
From the Paper
"Comparison of Two Sculptures
The ancient Egyptians and the Greeks of the Hellenic era shared several important characteristics. Among them were a complex system of gods, each requiring his or her own ritual worship, and a love of the monumental in terms of architecture and selected art forms. As Laurie S. Adams (p. 73) has commented, both groups followed certain canons and conventions in sculpture, leading to creations that were life-sized or larger, monumental and powerful, and firmly rooted within the guiding sociocultural ethos in which they were produced. This report will compare two works of art. The first is an Egyptian statute of Ranofer, a limestone sculpture of a standing male produced in about 2750-2625, B.C. (Gardner, p. 54). The second sculpture to be discussed is known as Kouros, a life-sized figure of a male ..."
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Sculptures of Buddha, 1997.
Compares two works from 8th Cent. & 11th Cent. & stylistic changes demonstrating Japanization of Buddhist art.
1,800 words (approx. 7.2 pages), 7 sources, $ 63.95
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From the Paper
" A comparison of two sculptural representations of the Buddha from the early and the late Heian periods will demonstrate the stylistic changes that accompanied the increasing "japanization" of Buddhist art at this time. In 784 the Emperor decided to move the court from Nara, headquarters of the great Buddhist monasteries, in order to escape the political interference of the monks. The introduction of Esoteric or Shingon Buddhism in the late eighth century coincided with the decision to locate the court in Heian-Kyo (later Kyoto). Shingon Buddhism and Pure Land Buddhism became, respectively, the prevailing religious modes of the early Heian (sometimes called Jogan) period and late Heian (sometimes called Fujiwara) period. The effect of these strands of Buddhism on Japanese art are reflected in the two sculptures of the Buddha considered here."
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Sculptures Of David, 1999.
Compares styles and symbolic meanings of four Italian Renaissance works by Michelangelo, Donatello, del Verrocchio and Bernini.
1,575 words (approx. 6.3 pages), 6 sources, $ 55.95
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From the Paper
"David was one of the most popular Old Testament figures represented in the art of Christian Europe. His well-known life included many events that were easily recognized and took on a variety of symbolic meanings. One of the most common ways of presenting David was in his role as the young killer of the giant Goliath. But even this one portion of David's story could have different forms and meanings. A comparison of four Italian Renaissance sculptures of David demonstrates four very different approaches to the subject. The sculptures are Michelangelo's marble David (1504), Donatello's bronze David (c. 1430), another bronze by Andrea del Verrocchio (c. 1470), and Gianlorenzo Bernini's marble version (1624). Over the span of two centuries it is possible to see the evolution of stylistic approaches in these four statues along with the variations in the artists' use ..."
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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
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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.."
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Sculptures of David, 2001.
Compares Donatello's bronze "David" & Michelangelo's marble "David." Functions & styles of statues; iconographic choices made by artists.
2,475 words (approx. 9.9 pages), 12 sources, $ 87.95
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From the Paper
"Donatello's bronze David (c. 1430) and Michelangelo's marble David (1504) are, nominally, treatments of the same subject. Yet -- considering the fact that both drew on the same iconographic tradition, were made within seventy-five years of each other, were created in Florence and credited with political meanings, and were important landmarks in the influence of classical art on the Renaissance -- it would be difficult to imagine two sculptures that were more different. A comparison of these two works will demonstrate how the sculptors made iconographic choices suited to the functions of their statues and how each man took a different approach to the integration of the antique into his style."
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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
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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..."
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Steel Tariffs, 2005.
This paper discusses tariffs, the politics of trading in the commodity of steel.
1,430 words (approx. 5.7 pages), 6 sources, APA, $ 47.95
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Abstract
This paper explains that a tariff is a tax levied by a government on imports and exports, which can be a major source of revenue for governments but is usually used as a political and economic policy for the protection of domestic industries against foreign competition by making imported goods costlier than their domestic counterparts. The author points out that throughout U.S. history, various administrations have granted benefits to the country's steel and iron industry through high tariffs to keep the steel prices above the fair competitive levels; as a result of such pampering, the U.S. steel industry has failed to become economically efficient, has lacked innovation to remain competitive and been a notorious laggard in adopting new technology. The paper relates that the World Trade Organization (WTO) decision that the tariffs imposed by the U.S. government in March 2002 on steel imports was illegal because the U.S. tariffs on steel imports were illegal under global trade laws and because the U.S. had not sufficiently proven that cheap imports from overseas were the reason for the U.S. steel companies' problems.
Table of Contents
U.S. Steel Tariffs: Was it a Correct Decision?
Protective Tariffs: Main Beneficiaries and Losers
World Trade Organization on Steel Tariffs: Loss of U.S. Sovereignty? Why Did WTO Side with EU?
If All Tariffs on Steel are Removed
From the Paper
"Lower tariffs result in greater international trade in which all the countries participating in such trade benefit through the economic principle of comparative advantage. Greater international trade, stimulated by lower tariffs, result in creation of wealth and higher economic growth rates for the participating countries. Recent real life examples of the dramatic benefits of free trade and reduced tariffs abound. Economies of Asian 'tiger' countries such as Korea, Singapore, Taiwan, and Thailand that followed policies of low tariffs and few trade barriers in the 1990s experienced very high growth rates. On the other hand, economies such as India, and Cuba that put up high tariff regimes and protective barriers during the same period, stagnated."
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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
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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."
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The Sculpture of Henry Moore, 2002.
A review of the work of Henry Moore with a detailed look at a number of his sculptures.
1,223 words (approx. 4.9 pages), 3 sources, MLA, $ 41.95
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Abstract
This paper is a review of the work of Henry Moore who had a long artistic career producing numerous sculptures. The writer reviews several pieces of his work. The paper presents Moore as a highly challenging artist whose work forces participation on the part of the viewer.
Table of Contents
?Reclining Woman?
?Reclining Figure?
?Family Group?
?Atomic Piece?/ ?Nuclear Energy?
?Knife Edge Mirror Two Piece?
?Sheep?
From the Paper
Henry Moore?s long artistic career produced a multitude of sculptures with remarkably individualistic traits, although they are clearly the vision of a single creative mind. Their simplicity and mass combine with a curious gracefulness and lightness, making the viewer look closer and even attempt to interact with the work.
His sculpture ?Reclining Woman?, done in 1930 in Hornton stone, evokes the heavy power of his early works. Her big body is a series of undulating hills and simple peaks, like the rural countryside where Moore grew up.
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