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A World of Art, 2007.
This paper discusses the world of art, concentrating on the Renaissance period.
969 words (approx. 3.9 pages), 6 sources, MLA, $ 34.95
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Abstract
In this article, the writer points out that in the world of art, especially the visual arts, the artist presents the audience with a specific view of his or her personal world. The writer notes that the artist therefore tends to explain and delineate the world according to his or her own reactions to and perceptions not only of the landscape, but also of the social world and time period in which he finds himself. The writer relates that this is true of every period in art, and perhaps most notably in the Renaissance period. The writer concludes that each artist discussed operates not only from his own perspective upon the world, but also in reaction to the social and artistic changes in the world around him. The writer maintains that in this way, the Renaissance was a period of an artistic dynamic that has influenced the world not only during its time, but for centuries after its end.
From the Paper
"Another iconic artist of this age was Michelangelo. Like Da Vinci, Michelangelo was also multitalented, although he concentrates his work in the arts and construction rather than the sciences. As sculptor, painter, architect and poet, Michelangelo was also one of the founders of the High Renaissance, influencing almost all his contemporaries and successors in the various art forms in which he excelled. Michelangelo established his early reputation with the Pieta for St. Peter's during 1498-9. After this harmonious masterpiece, the artist received the commission to complete David, another masterpiece. After further making his name as a spectacularly talented artist, Michelangelo was commissioned to paint the ceiling of the Sistine Chapel, a project he began in 1508 and completed by 1512. As his name, Michelangelo's use of the nude exerted an intense influence upon the new values and artistic styles of this period. The nude was used as an expression of human emotion and idealization of form."
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The World of Commercial Art, 2005.
A look at the integral part commercial art plays in the world of commerce and capitalism.
2,700 words (approx. 10.8 pages), 6 sources, $ 106.95
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Abstract
The purpose of this study is to provide a general overview of the discipline of commercial art. To do so, a number of topics will be touched upon so that readers can gain a broad understanding of the importance of commercial art in contemporary culture, as well as some of the means by which commercial art is produced.
From the Paper
"The importance of commercial art and the artists who create it cannot be overemphasized. Western, capitalist societies depend upon the skills that commercial artists possess. Quite simply, "commercial artists create a moving record of social moods and public perceptions ... because art, emotion, and business interests converge in advertising" ("Area of Study" par. 2). Put another way, capitalism is built on advertising. Without advertising, producers would not be able to convince consumers that they have an artificial need for a given product. Commercial art is the medium through which advertising operates and the proverbial glue that holds together the economic systems of Western nations. The purpose of this study is to provide a general overview of the discipline of commercial art. "
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Jackson Pollock - His World and His Art, 2007.
An analysis of Jackson Pollock's work and his place in 20th century American art.
2,419 words (approx. 9.7 pages), 5 sources, MLA, $ 73.95
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Abstract
This paper explores the work of Jackson Pollock, with an emphasis on his innovative style and its continued impact on contemporary art. The paper examines the world of art that came before Pollock during the middle years of the 20th century. Historical events, such as World War II, and their influence on art and thought are also discussed. The paper then describes the techniques Pollock used in applying paint to a canvass. Two of Pollocks works are highlighted and described. The first is entitled "Lucifer," and the other is "Blue Poles, Number 11," which is considered to stand out above all his others. The author concludes that Pollock's art has the uncanny ability to find order out of disorder.
From the Paper
"In order to understand and appreciate the world of Jackson Pollock and his amazing art, we must first explore the world of art that came before him during the middle years of the 20th century. Following the end of World War II in 1945 and the beginning of the "Atomic Age," there persisted a haunting dread among many Americans that life "had no meaning or value" which influenced a number of highly-successful artists to protest in paint against what they saw as a mechanized culture that did not tolerate individualism and non-conformity. At this time, a new artistic style emerged known as Expressionism which was harsher, more defiant and rebellious than any of its predecessors and "insisted on an even more radical abstraction from the world of reality." "
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The Development of Art Throughout the World, 2006.
This paper reviews the history of various art forms in "Art in the Western World," written by David M. Robb and J. J. Garrisson.
1,020 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
This paper examines the development of western art forms from early architectural designs through sculptures of the Greeks and Romans, the European art of the Renaissance period and into the 20th century as written about in "Art in the Western World," by David M. Robb and J. J. Garrisson.
From the Paper
"Hendrick Willem Van Loon, traces the history of Art in The Arts. Van Loon follows the development of Art from the prehistoric period, the Minoan civilization, the Greeks and Romans, Gothic Art, Renaissance Art, Chinese and Japanese art into the Empire style of the early 1800's. He looks at art as a whole, discussing musicians as well as architects, sculptors and painters."
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Art, Personal, World, and National History, 2005.
This paper compares the different ways in which histories are portrayed by South African, American and Czech sources.
1,350 words (approx. 5.4 pages), 13 sources, $ 47.95
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Abstract
In this article, the writer offers a comparison of how South African, American, and Czech sources portray national history, art history, world history and personal history. The writer examines a selection of texts to identify to what extent each amplifies linkages between world history, natural history, art history and personal history.
From the Paper
"History as a record of events and dates can be a dull affair because it does not necessarily capture the dynamics of personal or even state actions as they were experienced by the people involved. Yet people are what make history and what made up the culture or cultures in which events and actions unfolded. Professional historians, if they are skilled enough, can make an account of an era or a significant set of events lively, but the life's blood of a culture a people a person or ... "
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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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
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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.
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In the Eyes of the Beholder, 2001.
This paper presents an in depth looks at art criticism and focuses on the life of Clement Greenberg and his contribution to the world of art critiquing. The reader is taken on an exploratory journey in which the life and career of Greenberg are discussed.
2,750 words (approx. 11.0 pages), 7 sources, $ 82.95
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Abstract
This paper presents an in depth looks at art criticism and focuses on the life of Clement Greenberg and his contribution to the world of art critiquing. The reader is taken on an exploratory journey in which the life and career of Greenberg are discussed.
From the paper:
Throughout history artists have placed their works out for the world to see and respond to. Museums and galleries are set up for the purpose of allowing art patrons to go and view what the artist has put together. Each piece of art is a unique blend of the artist?s personality and the patron reacts to it partly on what the artist has created and partly because of his or her own life experiences. The world of art is extremely subjective making the critiquing of the works especially difficult. There have been many art critiques in the world but few have had the major impact on critiquing that famed critic Clement Greenberg had. Greenberg helped shape the field of art criticism and was especially involved in the avant-garde field.
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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Politics and Art, 2007.
A discussion of the relationship between politics and art.
855 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
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Abstract
This paper examines how politics have long served as an impetus for artistic creation. The paper explains that artwork commonly reflects not only a personal vision, but a communal one, touching on themes that are recognizable to a large body of people. The paper further explains that while often seen as polar opposites, the political world and the art world are in fact not separate entities, but frequently intermingle. The paper looks at how, throughout the past several centuries, political establishments around the world have provided creative fuel for a wide array of art and how in recent years governments from various countries have begun extensively funding new museums and exhibitions, enabling art to reach the attention of the masses. The paper also suggests that while governments around the world have worked hard to censor art they deem politically dangerous or obscene, they have also worked towards funding projects by artists past and present. In conclusion, the paper shows that whether for good or evil, politics and art are parts of a whole, bouncing and reflecting off of each other.
From the Paper
"Politics, being the shared link between a mass of people, have naturally entered into the artistic repertoire of important and frequent themes. From Diego Rivera's "Man at the Crossroads," depicting Trotsky and Lenin in Rockefeller's commissioned all-American mural, to Dana Shutz's "Men's Retreat," showing Bush's cabinet walking blindfolded through the forest, artwork has often been about political subversion. Politically motivated artwork is not restricted to paintings either, there are literally millions of films, photos, plays, sculptures, drawings, music, and other forms of art that all deal with a need for political change.
With such radical work, however, comes censorship. The political world has innate control over the art world because of its power."
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Contemporary Art and Society, 2008.
This paper discusses that society has changed significantly and, in parallel, its relationship with art has transformed as well.
1,210 words (approx. 4.8 pages), 5 sources, MLA, $ 41.95
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Abstract
In this article, the writer notes that art institutions have undergone significant changes in the past several decades. These changes are the result of the transformations in society as well as in art. The writer maintains that one way of addressing this relationship transformation is analyzing the position of art institutions that exist within societies and countries around the world. The writer points out that art institutions, like galleries and museums, are places where not only the work of art meets the eye of a critic but also locations where the broader public interacts with it. The writer notes that the public interaction with the artistic world in the art institutions is of crucial importance. After all, whether a work of art is going to survive or not depends a great deal on its public acceptance.
From the Paper
"The art and artistic expression has elevated itself from aesthetic human activity to more intellectual and actively socially involved one. The artists view their role as a socially active one, as members of society who openly and sometimes provocatively challenge the accepted ideas and social values. They are ready to tackle the ethic and social taboos, attitudes and widely accepted believes. This inevitably is result form the fact that the contemporary art works are not created form the void. Rather, the conditions within our society shape the ideas and "products" of artistic activity. The artwork becomes as a result, a part of a dialogue that comprises the culture in our society."
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World War Two and Abstract Expressionism, 2001.
An examination of a genre of art called abstract expressionism and how it expresses historical events.
4,335 words (approx. 17.3 pages), 10 sources, $ 114.95
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Abstract
A look at the impact of world wars on abstract expressionism, a genre of art. The author examines what paintings under this genre represent and how they come to play significant roles in the expression of historical events.
Table of Contents
I. Introduction
A. Brief definition of abstract expressionism
B. Examples of other relationships between artistic movements and political happenings
1. Romantic movement
2. Vietnam
C. Brief description of the effects of World War
1. effects on the U.S. economy/politics
2. effects on the people
D. Thesis as to the relationship of World War II and the rise of Abstract Expressionism
1. Three major influences
a. immigration of European artists, writers, intellectuals, scientists
b. the Surrealist movement
c. ancient influences (art)
II. Body
A. Before World War II
1. Depression
2. Thirty Years War
3. World War I
B. Historical Roots
1. the 1930s
a. political happenings/economy
b. art & the relationship between the two
2. late 1930s early 1940s
a. political happenings/economy
b. art & the relationship between the two
C. Intellectual Roots
1. Themes of Abstract Expressionism
a. the return to origins
b. the human continuum
c. conflict and the dualistic pattern of human life
d. opportunities/new beginnings
2. Heritage (Ancient influences)
3. Nature
4. the subconscious
D. Artists
1. Gesture
a. style
b. specific artists
2. Color Field
a. style
b. specific artists
3. In-between
a. style
b. specific artists
III. Conclusion
A. The evolution of art starting from the period of the 1930s (WWI, Depression, etc.) to
after World War II
1. Content
2. Purpose
3. Style
B. How World War II molded Abstract Expressionism and how the artists drew from World War II
1. the people?s responses to the war
2. united aspects of the art that showed a general feeling towards WWII
C. How, by the rising of Abstract Expressionism, modern art was affected, and how it
changed the way that people expressed their sentiments
From the Paper
"At first, there was an initial resistance to Abstract Expressionism, but by the 1950s it was recognized as the dominant force in American painting, encouraged by the government while being considered a symbol of American cultural freedom.For the first time ever, American art received widespread and serious attention in Europe. Abstract Expressionism can hardly be characterized as a single movement due to the diversity of the art it encompasses. Despite this variety, Abstract Expressionist paintings share several broad characteristics ? they are basically abstract, emphasizing free, spontaneous, and personal emotional expression, and they exercise considerable freedom of technique in order to attain this goal. The artists of this period manipulate the physical variables of the paint in order to convey expressive qualities, often on large canvases to give the visual effects an engrossing power. Abstract Expressionist artists can be divided into three categories based on style - gesture painting, such as done by Jackson Pollock, color field painting as done by Mark Rothko, or an in-between style as done by Robert Motherwell."
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Fifteenth Century Art of the Netherlandish Region, 2002.
This paper discusses the development of art in the Netherlandish region during the fifteenth century and the influence this art had on European art in the centuries to come.
3,111 words (approx. 12.4 pages), 6 sources, MLA, $ 90.95
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Abstract
This paper examines the art of the Netherlandish region during the fifteenth century and suggests that, contrary to common scholarly opinion, the art of this region was important not only from the perspective of how it related to contemporary art in Italy, but, in its own right, was possibly one of the most important moments in Western art history. Also examined are the inventions, innovations, and impact Netherlandish art had the development of European art.
From the Paper
"Nevertheless, the depiction of the world was an unusually strong preoccupation of the Netherlandish painters. Among those artists who worked in the early part of the century, the output of the Tournai painter Robert Campin (c. 1378-1444) and that of the Master of Fl?malle, is sometimes regarded as distinct and sometimes as the work of one individual."
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Outsider Art, 2005.
This paper discusses the history and future of the term "outsider art", referring to art, made by self-taught artists, which stands outside the realm of "fine" art.
3,015 words (approx. 12.1 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper explains that "outsider art", also called naif, naive or art brut, is collected by the most well-known collectors; therefore, the question arises when something becomes popular or "in" does it continue to be "outside"? Can "outsider art" continue in the years to come? The author points out that, for example, after World War I, the cultured in Europe began developing an interest in self-taught creators called "naives", such as Henri Rousseau, who were creating their artistic works throughout Europe especially France. The paper presents many examples of "outsider art" in the U.S., including Mexican-American, jailhouse and street art, some of which has entered the realm of collectors and museums, while other artist prefer to remain "Outside Art".
Table of Contents
Introduction of Thesis Statement
Introduction of Terms Based on Dubuffet and Cardinal
Move from Europe to United States
Definition of Outsider
Examples: Slaves, Mentally Ill, Spiritual, Folk, Recycled
Response to Thesis Statement
Conclusion
From the Paper
""Outsider art" continues to evolve along with changes in society. A new form of work, for example, called "recycled folk art," transform pieces of trash into new treasures. In Mexican-American Texas communities, houses are adorned by objects, colors and symbols that reflect a history over the past to present days. Many of the visually rich barrio decorations are made from everyday castoffs such as Styrofoam cups, tires and tile chips. Brightly colored trucks and cars, tree swings, and televisions act as shrines to the Virgin of San Juan. Windmills and whirligigs are made from soda cans, butterflies from scrapped tin and muffler robots from used auto parts."
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