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An Analysis of Nelson Goodman?s Theory of Depiction, 2006.
This paper explores Nelson Goodman's theory of depiction in relation to art and the expression of emotions.
2,900 words (approx. 11.6 pages), 8 sources, MLA, AU$ 137.95
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Abstract
This paper probes Goodman's theory of depiction which is a form of metaphorical exemplification which the philosopher also calls expression. This well-researched and detailed paper examines Goodman's system of determining the relationship between work and emotion which applies broadly to the arts. This paper also focuses on Goodman's approach to nominalism as an ontological position about the existential status of abstract objects as well as his aesthetic program that advances a belief in the intellectual nature of art.
From the Paper
"For Goodman, the nominalist, there is no chance of inherent essence of a label, and so the only explanation for the interplay in a re-assignment involved in metaphor are rules of association which govern the behavior of labels. A sort of conventional nominalism chalks these rules up to "practice," while a stipulative nominalism would determine that the rules are handed down by an unknown source. In any case, the rules are ordered by the conditions in which the label is applied. For example, when confronted with a painting, a decision is made to apply the predicate "inspiring" to the object in question."
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Goya and his Paintings, 2006.
An examination of 18 century painter Francisco Jose de Goya y Lucientes, otherwise known as Goya.
1,890 words (approx. 7.6 pages), 3 sources, MLA, AU$ 97.95
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Abstract
This paper examines the life and works of 18th century painter, Goya. It explains that in his youth, Goya was apprenticed by Francisco Bayeu and also motivated by the styles of Rembrandt and Velazquez as their techniques are present in Goya's work. The paper examines some of Goya's works and discusses how these styles are representative in his paintings.
From the Paper
"Despite his success as a painter, Goya's life and style were changed after an infirmity in 1793 left Goya deaf, imbibing him with new cynicism and bitterness. As a result, his post-infirmity paintings wee executed with painful honesty, eventually turning to tragedy and bizarre horrors. Throughout the rest of his life, Goya continued to paint, although he left Spain for Bordeaux, France, in 1824. With the final period of his life spent painting lithographs of scenes of bullfights, Goya died on 16 April 1826, leaving "no immediate successor" (8). Goya has influenced such diverse painters as Picasso and the modernists, and this paper shall analyze four of his works, taken from diverse periods of his artistry."
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Edward S. Curtis and "Coming to Light", 2006.
An analysis of the work of American photographer Edward S. Curtis and the film by Anne Makepeace, "Coming to Light", which depicts the life of Curtis.
1,401 words (approx. 5.6 pages), 2 sources, MLA, AU$ 74.95
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Abstract
This paper explores the parallels that can be drawn between various aspects of the film "Coming to Light" and the work of photographer Edward S. Curtis, the subject of the film. By exploring these parallels, the paper then highlights what is both positive and negative about the film.
From the Paper
"The 84-minute long film depicts the life of Edward S. Curtis (1868-1952), who took it upon himself to preserve traditional American Indian cultures by means of photographic art. It was during 1900 when he attended a Piegan Sundance, that the photographer was so moved that he made the preservation of the cultures of the various tribes of North American Indians his life's work. As he believed that the Sundance was to be the last the he would see, he was inspired to use photography to preserve what he could of the beauty of the culture. Thus, with around 10,000 recordings, 40,000 photographs and one full length ethnographic film about his subjects, Curtis became the most famous of his time. However, with the Great Depression in the 1930's people's interest in Indian culture wavered and Curtis eventually died in poverty, nearly forgotten. His work did however survive and was rediscovered during the 1970's. It is from this material, and the help of both Native Americans and Curtis's family members, that Anne Makepeace was able to create her remarkable film."
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The Photographer as Artist and the Artist as Photographer, 2006.
A summary of the influences of photographers on art and art on photographers.
3,816 words (approx. 15.3 pages), 10 sources, MLA, AU$ 167.95
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Abstract
In this report the author examines the photographer as an artist and what he can contribute to natural art. From the other point of view the author also examines how art has influenced photography. He cites many opinions of famous artists and photographers. The conclusion of the paper clearly communicates that in society today art and photography cannot be considered mutually exclusive.
From the Paper
"Limitations in photographic technology determined the imagery left from the Civil War. Because exposure took several seconds, Brady heavily favored images that didn't move. For example, full regiments in formation often held still for the camera. Additionally, the gruesome aftermath of battles constituted the other predominant category of Civil War photos. For a country that had been reared on the adventure and glories of war portrayed in paintings, the overall impression of this rupture in the American psyche was depressingly grim, drab and nauseating."
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"Invention of the Monsters", 2006.
An analysis of Salvador Dali's painting "Invention of the Monsters".
1,378 words (approx. 5.5 pages), 5 sources, MLA, AU$ 74.95
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Abstract
The paper states that this painting is a typical work of Salvador Dali's and that his personality is present in this work. The paper discusses that the painting is a combination of symbolism and paranoia. The writer posits that the focus of the painting is the burning giraffe, even though it is painted in the background. The writer suggests many interpretations for the painting, then posits that it is unimportant as the painting is not realistic, and can therefore be interpreted however the viewer wants to. In conclusion, the writer states that the painting is fascinating and ugly at the same time and that surrealism fails if it needs to explain itself.
From the Paper
"Now, to more closely examine the ghouls in the foreground, sitting at what looks like a banquet table containing only a little statuette. Is it the Christ figure? Some saint being tortured? What makes trying to make sense out of a surrealist painting so difficult is that the artist has a conception he does not want to share with those seeing the paining, once it is out of his mind and on canvas. The whole meaning of surrealism is that it is above and beyond realism. A cat is not necessarily a cat, a cloud not necessarily a cloud, except in the perception of the viewer. Those who look at surrealist works have to bring something with them: either an open mind, or a pre-conceived idea of what one is looking for."
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Fashion in Italy, 2006.
A study of the Italian fashion industry.
3,650 words (approx. 14.6 pages), 6 sources, MLA, AU$ 163.95
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Abstract
This paper studies the fashion industry in Italy. The paper looks at the factors that have contributed to its development -- from geography and topography to politics and culture. The paper also examines attempts by the Italian government to support and encourage growth in the industry, such as loosening tax burdens and other bureaucratic controls.
From the Paper
"The textile and fashion industry in Italy is exclusive, dynamic and novel and is the best in the entire world. The constant innovation in this field causes for it to have an edge over the fashion industry in the rest of the world. The fashion industry in Italy focuses on putting forth original and distinctive products that enable the customer to feel that he has acquired his best. To meet the demand of the industry, the companies improve the technical performance in terms of fibers, yarns, fabrics, and finishing. To succeed in the market it is essential that these organizations work on every inch throughout the way from the first process, the fibers to the fabrics, and then the finishing touches to see to it that the final product for the market meets the best demand of the customer."
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"In an African Setting", 2006.
A review of the painting "In an African Setting" by Aaron Douglas.
750 words (approx. 3.0 pages), 6 sources, APA, AU$ 42.95
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Abstract
This paper studies the painting "In an African Setting", by Aaron Douglas. As the paper explains, through the Public Works Act, African-American artist Aaron Douglas was commissioned by the Harlem Branch of the New York Public Library to compose works on African-American history. The paper studies the piece's form, technique and symbolic significance.
From the Paper
"In this particular work, Douglas' use of sharp edges and repetitive designs was greatly influenced by African sculptures, jazz music, dance and geometric forms. "In An African Setting", was in fact part of a larger collection. The work was a four panel series that was used to communicate the distance that the African American had traveled, from freedom in Africa, to slavery in the United States, to the challenges of freedom after the Civil War. The first panel, and most famous, depicts an African man and woman dancing to the beat of drums."
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?The Ancestors of Teha?amana?, 2006.
An analysis of the painting "The Ancestors of Teha'amana", painted by Paul Gaugin in 1893, with reference to its symbolism and setting.
1,743 words (approx. 7.0 pages), 4 sources, MLA, AU$ 90.95
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Abstract
The writer evaluates the painting and discusses its expressive content. The paper notes that Teha'mana was a young Tahitian girl whom Paul Gaugin had taken as his bride. It explains that Gaugin left her and their baby in the year the portrait was painted. The writer explains that Gaugin seemed to relate to Teha'mana as a possession, painting her without emotion. The paper discusses the use of Tahiti as a setting for Gaugin to paint in. The writer discusses Gaugin's art in the light of other art of the same period. In conclusion, while the paper states that Gaugin should be praised for using techniques that were bold and revolutionary and that he shattered age-old concepts of painting Tahitian subjects from a European perspective, he should also be castigated for doing so at the expense of human emotions, with regard to the women in his life.
Table of Contents:
Evaluation of Expressive Content
Historic and Stylistic Context
In Conclusion
Works Cited
From the Paper
"For Gauguin, Teha'amana fit nicely into this perceived notion. After all, Gauguin wanted to blend into the culture of Tahiti, and in his mind, this was an effective way of blending. Teha'amana would simply be added to his collection of "trophies," much like his collection of art. She would function as a subject for his works, until he was ready to make her a casualty of his drive to become rich and famous.
"Indeed, Teha'amana ultimately became a casualty of Gauguin's ferocious egotism when he left Tahiti and returned to France in 1893 - the same year that he painted this portrait. Teha'amana bore him a child, but he abandoned both of them upon his return to France. Is it any wonder that Teha'amana looks expressionless in the portrait? Perhaps she was aware of what was to come to pass.
"Marc S. Gerstein offers support for this interpretation in describing a similar painting of Teha'amana, entitled "Faaturuma": "As so often in Gauguin's Tahiti, he suggests muted undertones of sadness, disquiet and dissolution resonating beneath the luxuriant surface of his mystical paradise." (Impressionism: Selections From Five American Museums 80). "The small painting on the wall acts, at one level, to enhance this emotional atmosphere."
"Through its placement next to the subject's head, this image of a typical Tahitian dwelling becomes like an object of her veiled thoughts, evoking vague feelings of longing, loneliness and dislocation.""
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Pollock and Rothko, 2006.
A comparative analysis of the art and lives of Mark Rothko and Jackson Pollock.
900 words (approx. 3.6 pages), 2 sources, APA, AU$ 50.95
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Abstract
This paper examines how the work of Mark Rothko and Jackson Pollock can be considered representative of modern American art. It shows that while the paintings of these two artists could never be mistaken for one another, in a sense their content is a reflection of their trouble lives. Pollock was an alcoholic and Rothko was mentally ill.
From the Paper
"What both men had in common, however, was a personal investment in their work- whether it would be considered "surrealistic" or "abstract" or, as one critic dubbed Pollock's work "global". Pollock, once, when he was asked how people should look at his work said: "I think they should not look for- but look passively- and try to receive what the painting has to offer and not bring a subject matter or a preconceived idea of what they are to be looking for." The problem with the average museum-goer, staring at a typical Pollock work was stunned by the intricacy and the symbolism of the lines, crossing, intersecting, encircling in bold, brash colors. "He was certainly more than a hit or miss painter, who sloshed his paint about without awareness of the consequences...He was a radical painter..." "
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Georgia O'Keeffe the Artist, 2006.
This paper focuses on the life and work of prolific artist Georgia O'Keeffe.
2,020 words (approx. 8.1 pages), 5 sources, APA, AU$ 102.95
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Abstract
This paper details the life and many accomplishments of acclaimed artist Georgia O'Keeffe and probes her brilliant use of every color on the palate. The writer also discusses how O'Keeffe's unique artistic methods are currently used in art teaching on every level from elementary schools to the finest universities throughout the world.
Topics covered in this report include:
Thesis Statement
O'Keeffe's Theoretical Context of Post Modernism
The Impacts of O'Keeffe's Use of Color
O'Keeffe's Treatment of Gender and Sexuality
Georgia O'Keeffe - The Artist's Context and the Person
Bibliography
From the Paper
"However, with undaunted enthusiasm from 1950 through 1964 she did continue to produce works albeit not many with the zeal and fire and passion of her earlier works in the formative years. And, when loss of eyesight handicapped her further in the early seventies she began working in three dimensional art works in clay and with the assistance of Jaun Hamilton reentering the art world in 1973."
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Joe Satriani: A Guitar Hero, 2006.
A review of the life and music of guitarist Joe Satriani.
1,350 words (approx. 5.4 pages), 4 sources, APA, AU$ 73.95
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Abstract
This paper studies the musical stylings of guitarist Joe Satriani, whom Entertainment Weekly has called "a guitar hero". By critiquing Satriani's various records, as well as examining the personal and professional milestones of his life, the paper provides a well-rounded insight into the man and his music.
From the Paper
"In these first years of his career, Satriani was entirely self-taught. It wasn't until 1974 that he began taking lessons in Queens and Glen Cove, New York, with Lennie Tristano and Billy Bauer, respectively. [2] Once he outgrew that scene, Satriani moved to Berkeley, California, where he began teaching guitar at a studio called Second Hand Guitars. Here he also instructed other notable guitarists such as David Bryson from Counting Crows, Metallica's famous guitar shredder Kirk Hammet, Primus' Larry LaLonde, Alex Skolnick of Megadeth, Slayer and Judas Priest, as well as the upstart jazz guitarist Charlie Hunter. [3] This teaching stint occupied another ten years of Satriani's life and was a critical time of development and learning."
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Jan Vermeer, 2006.
Examines the life and career of renowned Dutch artist and landscape painter, Jan Vermeer.
6,487 words (approx. 25.9 pages), 4 sources, MLA, AU$ 239.95
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Abstract
This paper briefly presents biographical information about Dutch artist Jan Vermeer and then goes on to discuss many of his most famous works. The paper explains that Vermeer was the foremost colorist of his time and discusses his elegant use of light, composition, tonal values and perspective.
From the Paper
"His paintings are exquisitely depicted with luminous blues and yellows, pearly highlights, which allow him to achieve subtle graduations of reflected light. He was a master of composition, particularly with regard to the representation of space. The paintings feature the arrangement of tonal values and perspective from the foreground, into the middle ground, sometimes continuing farther into the distance in such works as Girl Asleep at a Table. In The View of Delft and other works, he demonstrated mastery of the effects of light with a subtlety, delicacy, and purity of color, that have never been surpassed since."
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Pablo Picasso, 2005.
An overview of the life and art career of this famous painter.
1,010 words (approx. 4.0 pages), 5 sources, MLA, AU$ 57.95
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Abstract
Pablo Picasso, one of the most famous artists in the history of art, was greatly concerned with social justice and the condition of man, becoming a self-avowed communist early on. This paper shows that Picasso continued to produce works of art throughout his lifetime, frequently returning to basic themes to which he continually brought new insights and methods of conveyance. The paper shows that by the time of his death at age 92, Picasso had left an indelible mark on the world of art, ensuring his place in history.
From the Paper
"During his lifetime, Picasso went through a number of developmental stages including his aptly named blue, rose and Negro periods. Picasso borrowed artistic elements and gained artistic influence from varying persons and cultures, bringing them all together to create something that was uniquely his own. With Georges Braque, Picasso is credited with founding the cubist movement, in addition to being the originator of collage artwork. Picasso worked in a wide array of artistic mediums, with a seemingly boundless range and reach. While many of the themes Picasso addressed in his artwork were similar to those seen in classical painting (portraits, still lifes, landscapes, literary themes, old masters, love and death, joy and suffering, etc.) he is credited with having paved the way for art to move toward the more abstract, subliminal and subconscious. Picasso broke down convention, creating something new and revolutionary to take its place."
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Photography as Art, 2006.
A review of photography as an art form.
1,250 words (approx. 5.0 pages), 3 sources, MLA, AU$ 68.95
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Abstract
This paper studies photography as an art form -- from the mundane, such as photojournalism, to the fantastic, i.e. interpretative artistic photographs. The author briefly reviews the history of photography, before delving into the scientific details of the art form. The paper then explores photography as an expressive art form, which does not require literal interpretation of subject matter.
The Science and the Art of Photography
Contemplative Photography
Photographic Presentation
Artistic Expression
From the Paper
"According to U.K. scientist and photographer, Mike Ware (1993), the photograph is a way of enhancing observation. The viewer is presented with a view of a world that is seldom noticed. A moment is taken from time and frozen for the viewer to study and react to. This could be a scene as mundane as a street filled with businesses, or as fantastic as a complicated collage, with a profusion of images assaulting the eye. The artistic purpose remains to make the viewer see what the photograph represents and to bring an individual interpretation to it. Hidden beauty is exposed to the eye of the camera and thus to the eye of the viewer. In this way the mundane and the fantastic become one. Perhaps one could say that the mundane in photography could also be compared to its scientific aspect, whereas the fantastic parallels the final artistic product."
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Albrecht D?rer, 2006.
A study of the life and work of the great German painter, Albrecht Durer.
1,875 words (approx. 7.5 pages), 8 sources, MLA, AU$ 95.95
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Abstract
This paper explores the life and work of Albrecht Durer, one of the great German painters of the Cinquecento, whose work was both influenced by and contributed to the spread of the Reformation throughout Germany. The author details Durer's personal history together with the historical developments in Germany and Christianity at the time. The paper also provides a detailed study of Durer's painting "The Four Apostles", which the author calls a culmination of his beliefs regarding the nature of God and the dignity of the human being.
From the Paper
"The Germany of Durer's time was still burdened by the feudal system and by widespread illiteracy. A growing, prosperous middle class paved the way for the social, economic and religious revisions that would later be called the Reformation. Still, because of the lack of sufficient education, paintings were a remarkably important source of information for the general populace. Durer was a devotee of Luther and of his ideas of direct human connection to God, and thus Durer's work was an significant vehicle for the dissemination of Reformation ideology."
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Man Ray, 2006.
A look at the artistic career of photographer, Man Ray.
1,799 words (approx. 7.2 pages), 7 sources, MLA, AU$ 92.95
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Abstract
This paper describes the photography of Man Ray, describing both his spirit of innovation and his enormous talent for the photographic medium. The paper discusses Ray's early career, his interest in photography, his work in New York and Paris, his surrealist and Dadaist works and his influence on the mainstream (and often upper class) dress fashions of the late 1930s.
From the Paper
"Ray's interest in photography grew stronger in the 1920s. He showed a masterful control of camera and dark room skills, but he was most notably an innovator. He helped re-instate the cliche-verre method of making direct photographic reproductions of drawings on glass. He used a variety of methods to produce photographic images without using a camera by "placing translucent objects on sensitized paper, adjusting lights at various angles, moving objects and/or lights above and across the paper, and at times actually immersing objects in the developer during exposure." [Perpetual, p. 27] If photography was machine-art, then Ray's photographs without a camera were even harder to categorize, an unidentifiable realm of artistic mystery. Although not entirely of his own invention, Ray's experimentation with these forms of exposure led to a liberation in the modernist's way of interpreting reality."
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