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Western Photography's Perception, 2006.
Examines how societies and cultures are perceived by Western photography.
3,172 words (approx. 12.7 pages), 33 sources, MLA, AU$ 123.95
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Abstract
Photography is an art form that is constituted by culture and society. At the same time photography is also an important element in shaping cultural realities. It is this complex interrelationship between the photographic image and cultural motivation that forms the basic subject of this essay. The relationship between photography and culture is outlined with reference mainly to American nation building and imagery around the turn of the century. Furthermore, the essay discusses the ways in which western forms of nation building interacted with the problem and perception of the "other" and the way images of "the other" are mediated though photographic images of the period. The paper includes photographs.
Paper Outline:
Introduction
Understanding Anthropological Photography
The Cultural Role of Early Photography in America and Nation Building
Francis Johnston
Conclusion
Bibliography
From the Paper
"The gaze implies a separation and a sense of domination and power that relates to various aspects, including alienation and
"otherness" This also refers to the "patriarchal" gaze: and the gaze from the standpoint of colonial culture. "The majority of anthropological photographs consists of non-Westerners looking away from the photographer, who were mostly white, upper class males, or posed to be in action as to appear candid and natural. " (Tanjuakio J. 2003) This view leads to various other aspects of post-colonial and postmodern theory; such as the assertion that photography is means of "capturing" the non-westerner in terms of control and power."
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?The Four Horsemen of the Apocalypse", 2006.
This paper analyzes the significance and symbolism surrounding Albrecht Durer's wood carving of "The Four Horsemen of the Apocalypse."
982 words (approx. 3.9 pages), 1 source, MLA, AU$ 46.95
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Abstract
The writer of this paper examines the biblical inspiration behind Durer's well known work of art. "The Four Horsemen of the Apocalypse" are described in the "Book of Revelation," when the seven seals of the book are broken. The woodcut carving depicts four mounted men on an apparent mission of destruction. As the seals are broken, a white, red, and black horse subsequently appear, followed by a pale horse. This paper explores the various interpretations of Durer's carving. According to one commentator, the first white horseman is interpreted as Christ while another sees him as a false prophet. The writer illustrates certain aspects of this particular work of art, by clearly describing three of the powerful riders on their white, red and black horses galloping in the forefront of the carving, while the skeletal horse with the skeletal rider is evident in the background. The writer contends that Durer clearly understood and internalized the images detailed in the text, which resulted in his poignant and accurate depiction, that continues to yield a powerful and eerie resonance to this day.
From the Paper
"In the print, three of the powerful riders on their white, red, and black horses gallop at the forefront of the work. The white horses' rider holds a bow and wears a medieval, peaked hat towards the background, the caped red horse's rider wields a sword, and nearest the foreground the black horse's rider is bareheaded, holding a scale. The skeletal horse with the skeletal man is evidently the pale horse's rider. The specificity of the artist illustrates that Durer knew the Biblical text's images quite intimately and wished to transcribe them in fairly accurate detail. However, the artist translates these images of war, pestilence, famine, and death into medieval terms of his own era-the warrior's crown of the white horse's rider is clearly of the artist's age, as is the garb of the second rider, and the small metal scales held by the third are similar to that of a medieval apothecary, used in weighing grain with weights."
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Aesthetics and Ethics, 2006.
Examines the aesthetic value of forged art and the ethics surrounding this issue.
2,392 words (approx. 9.6 pages), 5 sources, MLA, AU$ 98.95
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Abstract
When discussing the philosophy of art, the issue of forgeries is a standard component. Oftentimes this component includes the component of whether or not forgeries have any sort of aesthetic merit. A work of art, forged or not, could have some element of beauty, and therefore have some aesthetic value. This paper questions whether the knowledge that it is a forgery detracts from this value and whether the fact that a piece of art is a forgery immediately removes it from aesthetic consideration. The paper also questions in what ways forgeries and fakes are detrimental to the art market and whether fakes and forgeries offer any intrinsic benefits for the market.
Paper Outline:
Introduction
Aesthetics Defined
Ethics Defined
Does Forgery Affect the Aesthetic Value of a Piece of Visual Artwork?
Forgeries and Their Effect on the Art Market
Conclusion
References
From the Paper
"A forgery is typically created to attribute a piece of artwork to a person who did not create it, in hopes of making money. The primary fault with forgeries is that they not only misrepresent the piece of art's origin, but also misrepresent the achievement of the artist's performance (Dutton, 1979). It is not that the forgery artist's work is not worthy of aesthetic value, it indeed may be as in the case of van Meegeren, however the level of achievement must be adjusted for the individual challenges, or lack of challenges, that that particular artist faced in the creation of the forgery, to determine its value."
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History of Orientalism, 2006.
This in-depth paper examines the culture and history of eastern Islam, also known as Orientalism.
3,071 words (approx. 12.3 pages), 5 sources, MLA, AU$ 120.95
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Abstract
The writer of this paper defines the term Orientalism, which comes from the Latin word oriens, as the rising sun, which generally implies, 'the East.' This paper focuses on the culture, religion, art and history of Orientalism. This paper explores the European view of Islam throughout history. The writer explains that during the birth of Christianity and Islam there was a distinct difference between European Christian cultures and those of East and North Africa, which are detailed at length in this paper. During the Middle Ages the European Christians denounced the Islamic people as the enemies of Christendom, due to their lack of knowledge of Eastern culture. This paper discusses how the Enlightenment thinkers of the 18th century viewed the Eastern culture as being superior to that of the Christian west. This paper illustrates that Islamic societies were praised for their religious tolerance when compared with Christian west. This paper also delves into those who opposed the Orientalist culture, such as James Mill, who believed that Eastern civilizations were stagnant and corrupt and Karl Marx who believed that Eastern methods of production were static. Christian evangelists further maligned Eastern traditions as superstitious nonsense. This paper also examines the rich artistic history of the Oriental culture. Depictions of Islamic Moors were found in Medieval and Renaissance art, but it wasn't until the 19th century that Orientalism became recognized in the arts. This paper also details the outspoken views and opinions of political activist and author Edward Said.
Table of Contents:
Definition of Orientalism
History of Orientalism
Orientalism in the Arts
History of Orientalism in the Arts
Edward Said and Orientalism
References
From the Paper
"Photography was still in its infancy and did not allow for the capture of the sunlight, the colors and the mood in which a painter could. With the iconoclastic nature of Islam, and the forbidding of the depiction of the prophet Muhammad, there was little representational art in Islam. Most of their artwork was centered on pattern and design. For this reason, the Muslim world had very little visual record of their history, including the people and the cities that existed prior to modern photography. Today, still, the best visual record of exotic cities like Cairo or Damascus, prior to the advent of modern photography, exists in 19th century paintings by Europeans and Americans. In the mid to late 19th century, painters from every country in Europe and from across the oceans in America, came to the East."
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Bohemian Art in Prague, 2005.
Discusses sites in the city of Prague where the Bohemian style can be seen.
906 words (approx. 3.6 pages), 6 sources, MLA, AU$ 43.95
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Abstract
Within the vast array of architectural styles in Prague, one can easily see many influences which the artists used to create their wonderful structures. One particular style stands out in buildings from before the fourteenth century through current day structures, that of the art of Bohemia. The art styles of the Bohemian culture are prominent in many of the architectural greats within Prague. This paper discusses some of those sites, and shows how Bohemian art styles have influenced those particular buildings.
From the Paper
"In addition to this type of artwork representation within the architecture of Prague, Bohemian sculpture art can also be seen as a distinct influence. Bohemian sculptures at the time began to separate the light from the dark, in terms of color. Firmer, brighter colors began to be used, and as separated images, these sculptures began to almost move within their confined spaces (Kren, "Bohemia")."
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18th Century Botanical Art, 2005.
This paper traces the history of 18th century botanical art as an outgrowth of the Age of Enlightenment scientific botanical explorations.
3,005 words (approx. 12.0 pages), 10 sources, APA, AU$ 119.95
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Abstract
This paper explains that the exotic new plant species brought back from the many 18th century global scientific explorations created an interest by men and women in landscape gardening and gardening magazines. The author points out that the botanical illustrations originated as a help to Carolus Linnaeus' classification system, which greatly influenced the botanical art (also called linnaean art) of the era, and soon became very popular, appearing in garden magazines along with cultivation instructions and even as textile prints. The paper compares the similarities of the work of Claude Aubriet (1665-1742), the first botanical artist to be part of an expedition, with commercial textiles, noting that in both examples all the 'working parts' of the plants are depicted.
From the Paper
"A president of the Royal Society subsequent to Sloane, Sir Joseph Banks, was one of the most powerful men in the British scientific community at the time, and he commissioned or caused to be published significant numbers of botanical illustrations that would have influenced both artists in other genres and the public, still hungry for information about exotic plants. Banks was also unofficial director of the Royal Botanic Gardens at Kew, giving him yet another platform from which to influence the public taste. Banks himself had sailed with Captain Cook on the first of Cook's voyages around the world in 1768."
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Art and Aesthetics in Town Planning, 2006.
A discussion about modern art and architecture and what they can offer in terms of urban planning.
1,850 words (approx. 7.4 pages), 7 sources, APA, AU$ 80.95
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Abstract
This paper discusses the problem of urban blight and what must be done to make a city livable. The paper discusses the concept of 'New Urbanism', a plan endorsed by enlightened planners that emphasizes the "human scale" of all its undertakings. The paper explains that 'New Urbanism" embodies the idea that people must not feel squeezed-out by overly large buildings and that a community must address the diversity of real-life human beings. The paper further discusses the significant role that both architecture and art play in making a city livable and likeable and explains that the more human the urban space, the more inviting, and invigorating it will be.
From the Paper
"Huge numbers of economically-disadvantaged families can overwhelm any community. The problem is made worse by the lack of any coherent plan; any attempt to use the gift of modern technology to alleviate these deplorable conditions. We tend to believe that urban blight is inevitable - the price we pay for living in such a high-tech, fast-paced society. Yet we need not be slaves of our technology. Technology can help us to beautify our environment, help us to create livable urban spaces that we can all enjoy."
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The History of Hula Dance, 2006.
This paper explores the history of the Hula dance and describes how the Hula maiden, with hips swaying in the breeze, has become a legendary symbol of Hawaii.
752 words (approx. 3.0 pages), 6 sources, MLA, AU$ 35.95
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Abstract
The writer of this paper details the history of the Hula dance and its significance as a ritual of religion, celebration, mourning and communication. This brief, yet concise paper, examines how, in ancient times, dancers were selected for hula training in childhood, spending their formative years under the care of a hula master, separated from the outside world and dedicated to the goddess Laka, patron of the hula. Hawaii's history of births, deaths, loves and battles were expressed in the Hula dance. The writer also details the accompanying music and melodic poetry, to which the dancer's swayed, which include the double-gourd drum, called ipu heke.
From the Paper
"The history of births, deaths, loves, and battles of the people were preserved in chants and dance. Since Hawaii's history was recorded as dance, "hula dancers were expected to remember and repeat every dance step perfectly and under punishment of death," for "to change the dance was to change history." Hula was the written word for ancient Hawaiians, told through the movements of the dancers' feet, hands, and body movements. Through dance, stories were told, genealogies were kept, and beliefs were shared and imposed, thus to change the steps would be to change the message."
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Art in Non-Western Society, 2006.
This paper reviews and analyzes a Native American Iroquois ritual object; a turtle rattle, ca 1890.
879 words (approx. 3.5 pages), 11 sources, APA, AU$ 42.95
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Abstract
The writer of this paper details the artistic and cultural significance of an Iroquois ritual object; a turtle rattle, ca 1890, which was found in North America. This paper contains a detailed description of the object, a large turtle rattle which is composed of the complete shell and skin of a snapping- turtle, 12-14 inches long, with head and neck stretched and held by stick splints to form a handle. The writer describes how this and other similar objects were used in Native Americans ceremonies and healing rituals. This paper delves into the significance of this and other artistic objects that were intrinsic to the native way of life. These objects were created in prehistoric times for utilitarian purposes.
Table of Contents:
Brief Description
Description
Research
Bibliography
From the Paper
"The turtle rattle was also a musical instrument in ceremonial use. One of its most important functions was its significance in the False Face ceremonies. One of the most distinguishing features of the Iroquois belief system is the reliance on the mask for religious and ritual purposes. These masks are often designated as False Faces. This term refers to the first False Face and the mythical origins of protective and healing spirits. They are used in introductory and agricultural rituals. The turtle rattles play a significant part in these important rituals. The turtle rattle is therefore integrated with the overall understanding of the origin myths of the Iroquois Indians. The turtle rattle is also seen as a powerful object in its own right and not just a decorative or musical piece."
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Post-Modern Abstract Artists, 2000.
This paper discusses the life and work of post-modern abstract artists Frank Stella, Andy Warhol and Roy Lichtenstein.
3,140 words (approx. 12.6 pages), 10 sources, MLA, AU$ 123.95
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Abstract
This paper explains that Frank Stella, born in 1936, influenced by the flag paintings of Jasper Johns, emerged in the 1960s as a leading example of Post-Painterly Abstraction, a reaction against Abstract Expressionism. The author relates that Andy Warhol's Pop Art applied a commercial art style to painting, as he appropriated subject matter from the pulp media. Warhol creating a style out of his own non-involvement with the material and his attempt to produce works that were machine-like, thus separated from the artist. The paper recounts that Roy Lichtenstein (1923-1997) is known for his series of paintings as a comic strip working with stencils to make rows of over-sized dots, forming his paintings of prints and making them look like a huge mass publication product.
Table of Contents
Frank Stella
Andy Warhol
Roy Lichtenstein
From the Paper
"Lichtenstein similarly imitated objects of popular culture, as in his comic-strip paintings taken from comic books and the like, or from his series of advertisements recreated on canvas, such as "Girl with Ball" (1961). Warhol's "Marilyn" images were mechanically reproduced and celebrated the machine element both in the way they were created and in the way they imitated a strip of motion-picture film, which is a mechanical means for reproducing movement. Lichtenstein in "Girl with Ball" and similar images recreated the mechanical look such newspaper print ads have in their original state, as if created by an off-set process that leaves the image flat, with texture showing through from the paper, or the canvas, and with a limited palette in keeping with the tri-color off-set process."
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Rebellion in Art, 2006.
A look at how art expressed the rebelliousness of the 1960s and how this rebellion eventually became mainstream.
1,006 words (approx. 4.0 pages), 3 sources, MLA, AU$ 47.95
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Abstract
This paper examines the artwork of some of the famous artists of the 1960s, explaining that their artwork thrived on the spirit of rebellion that was rampant in the 1960s. The paper further explains that, as contradictory as it may seem, rebellion later became the norm for society and somehow rebellious behavior was "institutionalized".
From the Paper
"The very people who so eagerly embraced the "revolution" were wholly unaware of how completely their newly-broadened horizons were so much like those of everyone else, and how much the limits on these horizons were being set by venal conglomerates in some far off urban landscape; an urban wilderness that was about as out-of-touch with the needs and concerns of Blacks in America, and poor peasants all over the Third World, as could possibly be imagined."
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Impressionism in Western Art, 2006.
An evaluation and discussion of the lives, times and works of Edouard Manet, Claude Monet and Auguste Renoir.
4,718 words (approx. 18.9 pages), 11 sources, APA, AU$ 163.95
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Abstract
This paper examines works by three artists known for their influence in the period known as Impressionism. The paper presents an overview of Impressionism, the Salon, outdoor painting and color during this period. It also looks at the influence of patrons, women and the culture. The paper presents biographies of the three artists, and finally descriptions and discussions of the three works - Edouard Manet's "Luncheon on the Grass" ("Le Dejeuner sur l'herbe"), Claude Monet's "Luncheon on the Grass", and "Luncheon of the Boating Party" by August Renoir. The paper presents these artists and specific works due to a strong similarity of style and sameness of subject matter.
Paper Outline:
Overview of Impressionism
The Salon
Outdoor Painting
Color
Patrons
Women
Japan
Crisis
The Culture, Times and Trends
Inventions
Biographies of Three Artists of Chosen Works
The Works
Comments
References
From the Paper
"In the 1870s Impressionism was at its height. By the 1880s stylistic differences and personal quarrels came into play. A major contention was who should be allowed to "show" with the group. Degas was eager to include new artists, but others saw it mostly as compromising the purpose of Impressionism. The new, more theoretical works of artists like Seurat and Signac marked the end of the original movement."
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Analysis of Samuel Mockbee?s Artworks, 2006.
This paper looks at the life and works of Samuel Mockbee.
1,366 words (approx. 5.5 pages), 5 sources, MLA, AU$ 61.95
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Abstract
This paper defines Samuel Mockbee as a renowned architect and a great artist and examines the works of Samuel Mockbee which portrayed powerful artworks that test the mind. It shows how Mockbee had a specific talent for portraying powerful themes within his artwork in a subtle and yet obvious method. The paper tells us of the life of Mockbee, who grew up in the rural Alabama region. The author relates that Mockbee dedicated most of his life in the south and, lived through the stages when the south was being confronted with trials and tribulations of the civil rights movement. The author continues the paper with discussions of some of the more well-known pieces of artwork and architecture that Mockbee created. In conclusion, the author tells us that Mockbee's artwork shows characteristics as well as finesse, as he shows why his architecture was always soulful in its own context.
From the Paper
"Charles Moore is a very metaphorical artwork, brilliantly hewn by Mockbee. The overall arrangement of the forms on the picture is centered in the middle. There is no hint of symmetry. The overall patterning shows that the entire surface does not include design elements. The major design element is enlarged and takes a considerable amount of the design surface. The focal point of the picture is leading towards the right as most objects are facing to the right. The hierarchal scale indicates that the rooster/chicken and the figure of the man are most distinguished in the picture, i.e. they are the main source of appeal."
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Bernini and Baroque, 2005.
Examines the art of Gianlorenzo Bernini within the Baroque period.
1,853 words (approx. 7.4 pages), 2 sources, MLA, AU$ 80.95
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Abstract
Baroque is used as a period label, designating the era that falls approximately between 1600 and 1750 and describes the dominant style in art, music, drama, poetry, prose and life in general at that time. This paper examines the life and art career of Gianlorenzo Bernini, a famous sculpture and artist in 17th century Rome. The paper shows why Bernini's work is representative of the Baroque era.
From the Paper
"In 1644, at the age of 76, Pope Urban VIII died, leaving the Church almost bankrupt. Urban gave Bernini his grandest commissions, and thus it is not surprising that Bernini lavished so much care when he made Urban's tomb, which took him from 1628 to 1647. Urban's authority is symbolized by his position atop the tomb, dispensing benediction to the faithful. Beneath, he immortalizes Urban VIII by writing his name in gold letters on a scroll."
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Impressionist Art, 2006.
Examines paintings by Claude Monet and James Abbott McNeill Whistler to show examples of Impressionist art.
1,236 words (approx. 4.9 pages), 2 sources, APA, AU$ 57.95
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Abstract
The Impressionist style of art began in the early 1870s. Impressionist artists were often considered radicals because of their huge departures from the conventional art form, content, subject matter and brush stroke technique of previous generations. This paper examines three Impressionist paintings in particular that serve as different examples of impressionistic art: Two works by Claude Monet - "Impression: Sunrise, 1872" and "Bridge Over A Pool of Water Lilies, 1899" and James Abbott McNeill Whistler's "Nocturne in Black and Gold, the Falling Rocket, 1875".
From the Paper
"Whereas Impressionists were known to paint outdoors, in Monet's later painting Bridge Over A Pool of Water Lilies, 1899, the artist would move back and forth into his studio constantly reworking the canvas of this piece. In this part of his Garden Series, Monet created a different example of impressionistic work. In Bridge, there are more layers and the work more complex. Whereas in previous works like Sunrise, where most of the subject matter is blurred out, Monet spent more time emphasizing the different aspects of the lilies in the pond, the bridge and the surrounding foliage in this work. There appears to be the beginning of a departure from the strong early characteristics of Impressionist movement, however the piece still remains under the classification of an Impressionist piece."
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Constanin Brancusi the Artist, 2006.
This paper explores the life, influences and works of one of the greatest artists of the 20th century, Constantin Brancusi.
1,606 words (approx. 6.4 pages), 6 sources, MLA, AU$ 70.95
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Abstract
This paper contains a concise biographical background of artist and sculptor Constantin Brancusi as well as relevant information regarding his more famous works of art, including: "Endless Column" and "Gate of Kiss." The writer of this paper explores Brancusi's intense expressiveness of abstract form as well as his handling of simplistic and basic themes of nature which garnered him much respect and fame as one of the great artists of the 20th century. This paper also details Brancusi's use of stone, wood and metal, coupled with his personal background and contemporary Romanian themes that evidence his social, political and aesthetic ideas to produce works of art that led to his well-earned reputation as a revolutionary modern artist.
From the Paper
"One example of a personal biographical detail that influenced Brancusi's life was his childhood in Tahiti. Although he was born in Craiova, in Southern Romania in 1876, he spent his childhood and youth in Tahiti. He was born into a large peasant family, and the family maintained its poverty throughout Brancusi's childhood. Brancusi did not go to school, but worked as a herdsman, first watching the family flock, then working for other country people in the Carpathian Mountains. Here, he learned to carve wood by fashioning tools and implements, through a popular art form making spoons, bedposts, or cheese presses, all of which were ornamented with carvings, but also for making the facades of homes."
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