| Papers [1-16] of 1888 :: [Page 1 of 118] | | Go to page : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
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Inigo Jones, 2008.
A discussion on the life and work of Inigo Jones.
925 words (approx. 3.7 pages), 4 sources, APA, AU$ 52.95
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Abstract
This paper discusses the life of Inigo Jones, described by the paper as the first and perhaps the greatest of English Renaissance architects who left a profound influence on the course of British art and architecture. The paper begins by presenting a brief biography of Jones' life and then looks at his contribution to the court masque, as well as his relationship and collaboration with Ben Jonson.
From the Paper
" One of the reasons for the fall-out between the two was that Jonson took the intellectual content of his masques more seriously than anyone else. He was, by all accounts, convinced that the soul of the masque was of infinite value. He deeply resented the tendency at the time to accord greater respect to the decoration and the "mere mechanics" of a show (Lees-Milne 45). Jonson believed that Jones was getting more credit than he deserved for his contribution to the masque productions. His resentment towards his "friend" grew from "irritation to contempt to intense dislike" just as applause for Jones got louder. "
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Women in Art, 2008.
This paper analyzes the paintings "Pocahontas" by Simon van de Passe and "'Liberty Displaying the Arts and Science" by Samuel Jennings.
1,631 words (approx. 6.5 pages), 1 source, MLA, AU$ 86.95
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Abstract
The paper compares the paintings "Pocahontas" by Simon van de Passe and "'Liberty Displaying the Arts and Science" by Samuel Jennings in order to illustrate how the two artists portray the women of America. The paper shows how these two works mirror how American women were devalued in society, and whose most important job was marriage and motherhood, with little else to fulfill or nurture them. The paper points out that both women are depicted in detail, but the detail of their surroundings is more important. The paper explains that this mirrors the status of women who were of lesser importance than their families and husbands.
From the Paper
"Both of these paintings depict American women, but at very different times in history. Van de Passe's work was painted from the real Pocahontas in 1616, while Jennings' work was painted in 1792, after America won her independence from Great Britain. Thus, the style and message of the two painting vary greatly, but they hold some commonalities, as well. The first depicts a Native American woman who denies her own culture in an attempt to become "civilized," while the other celebrates emancipation and freedom. How the artists view these two different American women is very interesting and representative of American history at the time they were painted."
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Museum of Native-American Art, 2008.
This paper discusses a proposal for a historical museum in Montana.
1,002 words (approx. 4.0 pages), 10 sources, MLA, AU$ 57.95
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Abstract
The paper presents a plan for a museum of Native-American history and art that will be located in Montana. The paper outlines the staff to be hired and the budget to be allocated. The geographical attractions, vegetation and economy in the State of Montana are also discussed.
From the Paper
"The National Congress of American Indians already has a collection of Native American art and artifacts, which it wishes to display and includes hundreds of thousands of art items in four major collection areas. A building to house the museum already exists in Billings, ready for the museum to move into and the director has been chosen. What remains is for staff to be hired and the budget allocated. Staff qualifications for curators and managers are that they have at least a B.A. in art history, museum studies, studio art, library science, or relevant field. Experience will be considered in lieu of a degree."
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Visual Text, 2008.
An analysis of "Arts: Anselm Kiefer Retrospective at SF MOMA" by Peter Selz.
1,205 words (approx. 4.8 pages), 1 source, APA, AU$ 66.95
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Abstract
This paper introduces and analyzes the visual text "Arts: Anselm Kiefer Retrospective at SF MOMA" by Peter Selz and discusses the text, which according to the author of this paper is interesting because it illustrates the many different parts of art, along with a writer's impression of the work. The article & the painting itself is also reproduced within the paper.
From the Paper
"Kiefer's work is highly visual and textual at the same time. It is dark, often sinister, and unsettling, and it is sometimes difficult to look at. Keifer's elements include realistic pictures of people and landscapes, but there is always something frightening or different about them. The writer includes an image of Kiefer's work, but also includes several descriptions of works that help the reader "see" them, which shows that visual texts can bring works to life, almost as if you viewed them on their own. A different genre might have made the works even more alive, such as a video of the works, but the text is still valid in its own right."
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Mathematics and Art, 2008.
A comparative analysis of the disciplines of mathematics and art.
2,332 words (approx. 9.3 pages), 10 sources, MLA, AU$ 114.95
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Abstract
This paper discusses how mathematics is often treated as a distant and very different discipline from the arts even though the arts make use of mathematics in a number of ways. In particular, the paper looks at how paintings, drawings, and designs can be analyzed according to mathematical principles to see ways in which the artist balances different shapes and forms according to mathematical principles or draws on mathematical theory for inspiration. The paper also examines how the art of different periods may reflect different mathematical ideas.
From the Paper
"The classical era was one in which mathematics was used quite consciously in developing artistic styles, and some of these styles have even been named with mathematical references. The artworks of a given era reflect the formalist, social, and economic realities of the period, exemplifying the prevailing artistic styles and the social and economic structures which influence the arts. In Greek art, the Geometric period was an era which produced a good deal of pottery and other geometrically regular works. The Geometric krater from the Dipylon cemetery from the eighth century B.C. (De La Croix, Tansey, and Kirkpatrick 130) exemplifies the style of the period. The Geometric period is the name given to the era between the end of the Mycenaean age and the beginning of the Classic age. "
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Elements and Principles of Art, 2008.
An analysis of the key elements of form, unity and subject within art.
1,113 words (approx. 4.5 pages), 4 sources, MLA, AU$ 62.95
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Abstract
This paper discusses the elements that are key components to art. It specifically focuses on the elements of art and design of form, unity and subject. The paper defines and discusses each of these elements and then discusses how different smaller components function together to create the elements of form and unity that we find within art.
From the Paper
"The principles of art would not exist without the individual elements of art. In other words, elements of art work together to create the principles of art. For instance, individual elements of art, such as forms, can appear again and again within a work of art to create the principle of repetition. The principle of repetition lends to the principle of harmony, in which unity is created by the appearance of elements over and over again. Repetition also creates the principle of movement, in which activity is displayed in an image through the manipulation of an element, such as a repeated form. Furthermore, compositional unity can be created by repeated lines, shapes, colors, or patterns. Harmony is the principle of art that is produced due to the achievement of unity in a composition. A work cannot have unity without harmony, and cannot have harmony without unity. The principles of movement and repetition are integral components to the unity and therefore the harmony of any composition."
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"The Thinker" and "The Oath of Horatii", 2008.
A comparison of the history and creations of two pieces of art - a painting entitled "The Oath of Horatii" by Jacques-Louis David and Auguste Rodin's sculpture, "The Thinker."
1,087 words (approx. 4.3 pages), 5 sources, MLA, AU$ 60.95
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Abstract
This paper compares two pieces of art - a painting entitled "The Oath of Horatii" by Jacques-Louis David and Auguste Rodin's sculpture, "The Thinker." It describes the history and background of each artwork and the reasons for their commission. The paper looks briefly at how they were created and the final outcome for each piece. It also looks at where the pieces can be found today.
From the Paper
"The figures in the painting are lit from the left and standing out against the dark background. There are three separate scenes--the three Horatii, stand on the left in a military pose and face their father who is in the middle of the painting blessing them with his right hand and raising three swords with his left hand. In the third scene, the women hold each other. Each of these three areas shows a different emotion--the tense faces on the Horatii, the agony of the father and the grief of the women. Calvet (39) explains that David followed the composition of the fresco, with the central figures placed in the foreground to the right, the wall of a temple with figures standing and sitting among the columns in the middle ground, and in background a classical columned facade. Red is the color that is used throughout to contrast with the dark areas. The other colors are muted browns and cremes (Eitner 23). It emphasizes the blood and hot emotions on the one hand, but the sorrow on the other."
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"Woman" and "Celia", 2008.
This paper provides a visual analysis and comparison of two works of art and design from the Metropolitan museum:"Woman" by Willem de Kooning and "Celia" by John Graham.
958 words (approx. 3.8 pages), 2 sources, MLA, AU$ 55.95
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Abstract
In this article, the writer studies two works of art that are displayed in the Metropolitan museum. The writer notes that Willem de Kooning's "Woman" is an oil and charcoal rendering of an anonymous woman on canvas, composed in 1944. It is a flat-looking depiction of a female nude against a background that looks like a home. The writer compares this work to "Celia" by artist John Graham. The writer points out that Graham's work is a far softer looking painting, as it is painted in oil, with casein, charcoal, chalk, pencil, pen and ink on Masonite rather than pure, flat oil on canvas. The writer discusses that it showcases "Celia," a woman with a classically hourglass figure and long, soft hair against a black background more reminiscent of a 19th century or classical nude than a modernist depiction of a woman, even though the painting was created at the same time as "Woman."
From the Paper
"The space seems cramped, given her position, although there is no distinctive sense of location to the picture, other than the fact that it is indoors. The painting is classified as abstract expressionist in its color scheme, and its use of a mask-like face, which is reminiscent of some of Picasso's cubist works. Although this work is recognizably human, it seems like a grotesque rendering of the human form. The work seems more like smears or swirls on a canvas rather than a suggestion of someone one might know in life. The smile on the woman's face while she assumes an uncomfortable position, and the cartoon-like yellow, orange, green, and blues make it seem as if the work is a parody of a woman, as if the woman's image is being made intentionally ugly or distorted. Even if this was not de Kooning's intent, the artist's emphasis is on the arrangement of form, line, and color not the character of the woman herself. The woman exists as a subject, a series of surfaces, rather than a unique personality."
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Female Art, 2008.
A brief overview of the depiction and place of the female in art in ancient history.
1,480 words (approx. 5.9 pages), 1 source, MLA, AU$ 78.95
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Abstract
This paper discusses how, because women have always been an integral part of society, their role has been depicted in artwork from the very first sculptures and cave paintings. Not surprising, the way that they have been delineated through art has depended on their changing responsibilities. Also, when women create the art pieces instead of their male counterparts, differences are recognized. The paper compares and contrasts this status within several different cultures such as ancient Greek Egyptian and Minoan cultures. The paper concludes that in most cases, except for the Minoan culture, the women's status continued to decline as the culture became more structured and urban. Except for the earliest times, therefore, women have had a subservient role. This has not only been in Western society, but Eastern cultures as well.
From the Paper
"In the period of approximately 3500 BCE to 635 CE, or during such cultures as the Akkadian, Neo-Summarian, Babylonian and Hittite, when looking at the art work it is difficult to know whether the women are depicting female humans or actual goddesses. For example, a female head from Uruk, Iraq, made out of marble from 3200 to 3000 BCE may be a female head or the Summarian goddess Inanna (34). Inanna., later known as Ishtar, was the Summarian goddess of love and war who was the most important female deity in all periods of Mesopotamian history (35). In a Sumerian ruin from the fourth millennium, statues and reliefs are found that are related to her worship. It is unsure, however, whether or not this goddess was represented in human form at that time. Because of continued importance of fertility at the goddesses at this time, women most likely continued to play an important role. "
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Kimono History, 2008.
An analysis of the history of the kimono and its influence on contemporary fashion design.
1,837 words (approx. 7.3 pages), 6 sources, MLA, AU$ 94.95
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Abstract
The paper discusses the kimono as simple apparel, in terms of shape and very complex in terms of design and artistry. The paper relates the origin of the term and its meaning, as well as the intricate design, styles and the influence it has had on fashion. The paper concludes that the traditional kimono still plays a very important part in contemporary fashion, not as an exotic element, but as an integral part of the designs for either casual or evening ware.
From the Paper
"Kawakubo, Miyake and Yamamoto are considered as the designers who made these first steps towards a new fashion more concrete: "While Kenzo is considered a pioneer among all Japanese designers, Kawakubo, Miyake and Yamamoto are the ones who created a new style characterized by monochromatic, asymmetrical and baggy looks."(Kawamura, 2004, 125) The asymmetrical and baggy look of their designs is clearly influenced by the loose form of the kimono. Sometimes, in Miyake's creations for example, the dresses are completely shapeless and have random holes that offer a certain freedom when wearing them: "There was a garment that was totally out of shape and had four holes. You could hardly tell which holes are supposed to be for the arms to go in or the neck to go in. During the rehearsal, Issey's patternmakers would be going around the dressers making sure we knew which hole was for which part of the body." (Kawamura, 2004, 134) This freedom of wear is also influenced by the kimono, which, although worn according to prescribed rules, can always be adjusted to the body or to the occasion, etc. Also, Miyake uses a special method in his designs that is called "A Piece of Cloth","that is clothes made out of a single piece of cloth which would entirely cover the body."
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The Black Arts Movement, 2008.
Explores today's black arts movement, which includes music, stage, film, television, literature and the visual arts.
2,310 words (approx. 9.2 pages), 8 sources, MLA, AU$ 114.95
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Abstract
This paper explains that the black arts movement is an extension of the Harlem renaissance period. The author points out the contributions of black persons to different genres or mediums of the arts in an overall social context. The author also stresses the impact of the black arts movement on all artists, regardless of color, and to the general culture to the extent that today the lines between white and black performers has been successfully blended.
From the Paper
"It was a well known fact that, by the time many young black men reached their early twenties, they had been arrested or came of age during incarceration. Rap reflected this, not just in the music, but in the music labels that were born to promote the industry: Death Row Records; Jive Records, Def Jam; Quannum Projects. All depicted labels that told the contemporary black story, and it wasn't a pretty a story. Black community, who had supported and marched with the Dr. Martin Luther King, Jr., finally began speaking out against the violence message in rap aimed towards black women."
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Dr. Seuss, 2008.
This paper discusses the impact of the illustrations in Dr. Seuss books on the reader.
752 words (approx. 3.0 pages), 2 sources, MLA, AU$ 42.95
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Abstract
This paper looks at the illustrations within Dr. Seuss books, which have been an essential part of American children's literature for ages. The author of this paper asserts that the artwork within Dr. Suess books tells its own story, emphasizing the story being told, embellishing it and taking the story to another level. Specifically, the author asserts that it is the exacting style of the drawings that urge the reader to look back and forth between the picture and the story, making full use of the mind and the imagination therein. This paper assesses the use of shape, color and contrasts in particular.
From the Paper
"On the pages 'Eat at Skipper Zipp's' the ship with three different colored flags and a strange color smoke rising above it is accessible by walking on a bright orange pier. It's an eye-opening, stark scene but some planks are missing (which are made obvious by the contrasting blue water) and the whales approaching are a shade of blue close to the color of the ocean, which gives a realistic sense of how much marine mammals look like their environment. The pages 'West Beast East Beast' feature beasts that are green with purple hair and purple tails. The lines that make up the tails resemble the weird-looking orange plants on the yellow island. The texture of the "island" looks nearly the same as butter on a previous page."
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Art as a Mirror of Society, 2008.
This paper examines two works of art, the "Venus of Willendorf," a prehistoric artifact, and Manet's "Paris" in order to discuss how humans define art and the meaning of art.
6,805 words (approx. 27.2 pages), 23 sources, APA, AU$ 248.95
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Abstract
This paper looks at how people view art. It states that when viewing any work of art, one immediately begins to make sense of the image in terms of how it relates to the world one knows, as well as what one has been taught about history. Not only does society seem to influence the ways in which art is produced - society is often reflected in the works of art itself. Along these lines, this paper aims to answer the question of whether or not people use ancient artifacts that pre-date written culture as a means of "reading" the society that existed during that era. In the case of ancient artifacts such as the "Venus of Willendorf," ultimately modern analysis can only guess by relating the piece's history to modern ideas of what gender might have signified to ancient prehistoric civilizations. However - in the case of Manet - people are able to get a better view of the ways that society and art impacted one another through the use of primary and secondary sources. In contrast between the Venus and Manet's pieces, it can be said that the relationship between art and society is in fact conditioned by a third factor, which is the main subject of this paper - that of history. Without all the written records of the 19th century that have been kept, people might have no way of knowing what they are looking at when they study a Manet painting. Furthermore, "works" - or, perhaps more aptly, artifacts - such as the Venus thus cause people to reconsider what the true definition of art is.
Outline:
The Venus of Willendorf: Women in the Stone Age
Manet's Paris
Women in Manet's Art
Conclusion
From the Paper
"Manet's painting was firmly rooted in Paris of the mid-19th century. It is thus not difficult for us to get a glimpse of what society was like in that time and place by looking at Manet's paintings. Looking at the Venus of Willendorf, however, does not tell us anything about the society that it is a relic of. It thus requires us to use our intellects and our imaginations in order to piece together an explanation that might satisfy us personally, but can never be held up as a firm example, as we can with Manet's paintings. Thus, it can be said that the relationship between art and society is in fact conditioned by a third factor, which has been the main subject of our inquiry - that of history. Without all the written records of the 19th century that have been kept, we might have no way of knowing what we are looking at when we study a Manet painting. This truth comes to the surface when we look at the Venus, which comes from a period that pre-dated all known forms of writing."
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Two Renaissance Paintings, 2008.
This paper compares the two Renaissance art pieces, "Mars and Venus United by Love" (c. 1570) painted by Paolo Veronese and "The Miracle of the Loaves and Fishes" (c. 1545-50) painted by Tintoretto.
1,238 words (approx. 5.0 pages), 6 sources, MLA, AU$ 68.95
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Abstract
Some painting styles are associated with certain regions and certain time periods, and in the Renaissance, artists from certain cities would express their version of a style and even a subject matter. Two such instances from the Venetian area in the sixteenth century are discussed in this paper, both at the Metropolitan Museum of Art in New York. The first is "Mars and Venus United by Love" (c. 1570) painted by Paolo Veronese, a mythological subject; and the second is "The Miracle of the Loaves and Fishes" (c. 1545-50) painted by Tintoretto (Jacopo Robusti).
From the Paper
" Mars is identified by his armaments, though in this case he is identified primarily by the uniform he wears and by the helmet that is on the ground by his feet. His sword is being used by one of the cupids, who used it to keep the horse to the right from moving forward. The weight of the painting shifts the eye to the left side of the frame, as does the lighter coloring of Venus's skin and her chemise, which is tossed across a wall. Against her skin, the darker head of Mars is framed as he gazes down at the Cupid who is tying Venus's leg to that of Mars, suggesting that the title of the painting is to be taken literally. Venus is also watching her Cupid with some indulgence as the knot is tied. The three primary figures in the painting, then, are all shifted to the left, and the way the two principals are gazing forward at the Cupid in the lower left corner causes the viewer as well to shift his or her eyes in that direction and so to see the tying of the knot, the central action of the painting. Additionally, the curve of Mars's back as he leans to the left matches the slight shift of Venus's body to the right to form an arch over the Cupid. Mars holds a dark cloak, which drapes across Venus's lap, and the darkness of the cloak allows the whiteness of Venus's leg and Cupid's skin and wings to stand out even more in the lower corner."
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Art, Sex, and Freedom of Expression in Asian Art, 2008.
An analysis of sex and sexuality in contemporary Asian art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, AU$ 71.95
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Abstract
This paper explores the expressions of sex and sexuality in the contemporary art of three Asian nations: Japan, China, and South Korea. The paper also looks at public and critical reactions to such works of art, in order to gain insight into the role sex and sexual art play in Asian cultures. The paper then points out that to a Western viewer, images of sex in contemporary Asian art are often shocking in their explicitness or sheer strangeness. The paper explains that once we begin to understand the context in which it has emerged, the representation of sex in contemporary Asian art is analogous to our own in the Western world. The paper concludes that sex is clearly a universal area of interest for artists from all over the world. While some nations, such as the Japanese, are free to explore the subject in all its glorious, perverse, and occasionally horrific detail, other nations punish their artists for making the most minor transgressions.
From the Paper
"In Japanese art, what comes across as shocking to an American audience does not necessarily seem so to the Japanese themselves. This is because the Japanese do not carry the burden of Christian guilt, nor have they been influenced by the Puritan ideals that continue to surface in American discourse. Indeed, the Japanese have a much more open attitude towards sex than any other nation in Asia. Sex in art, however, is often used to challenge accepted modes of discourse in Japanese culture, and is thus considered to be a tool of dissent. This is particularly true for Japanese women artists who wish to challenge the Confucianist idea of women as submissive beings."
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Art History, 2008.
A discussion of various movements and works over the course of the history of art.
2,093 words (approx. 8.4 pages), 4 sources, MLA, AU$ 105.95
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Abstract
This paper discusses the various periods and works in art history. The paper explains that the Gothic and early renaissance periods represented periods of rebirth in art. The paper looks at why one of the permanent sources of art is nature. The paper then analyzes the "Labors of the Months", which according to several historians, made its first impact in classical iconography as early as 800 or the 9th century AD.
From the Paper
"The representations of the labors of the months are found in two Anglo-Saxon manuscripts. Both are written in the 11th century, although one dates in the first half of the century and the other in the second half, which might explain the influence of the Norman invasion along the way. One was created in Canterbury, while another was made in Winchester. All the representations for the months are common between the two, except for the three months of summer, June, July and August, where the same activities (cutting wood, mowing and reaping) are placed in different months depending on the manuscript."
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