| Papers [385-400] of 1853 :: [Page 25 of 116] | | Go to page : <— 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 —> | |
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Rodin and Brancusi, 2004.
An analysis of two great sculptors, Auguste Rodin and Constantin Brancusi.
769 words (approx. 3.1 pages), 4 sources, MLA, AU$ 34.95
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Abstract
This paper discusses how, within the works and minds of Auguste Rodin and of Constantin Brancusi, there is more similarity than their works might appear at first to offer. It hypothesizes how there had to be a Rodin before there could be a Brancusi and how, without Rodin's odd sculptures, such as "The Thinker", Brancusi would not have had the art world's "permission" to severely edit the forms of his work.
From the Paper
"Two of his many bird sculptures reveal how even his minimalism?a concept not yet identified as such, but surely advanced by Brancusi nonetheless, became more essential as he refined his art. Golden Bird merely suggests physical details: "The high polish of the metal mirrors the surrounding space, integrating the object and its setting with unprecedented intensity" (Art Institute of Chicago Web site). Bird, more simply named and more elegantly crafted, removes all suggestion of "birdness" from the sculpture, reducing "birdness" to the mere gesture of flight caught in a single, sweeping bright object that, without its name, would still convey a feeling of soaring."
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Medieval Art and Architecture, 2004.
An analysis of medieval art and architecture.
1,526 words (approx. 6.1 pages), 5 sources, MLA, AU$ 63.95
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Abstract
This paper discusses the notion that architects and artists working in medieval Europe borrowed ideas from all the cultures surrounding the Mediterranean or coming across the central European mountain ranges. The paper presents examples of this cross-culturalism, with a focus on Islam being the most influential of the cultural donors to medieval art and architecture. The paper contends that, although these examples do not definitively trace any single aspect of Islam into Western ecclesiastical art, they do serve as an indication that it is impossible to consider any medieval art, no matter how isolated we think Europe of the Middle Ages must have been, without considering the very substantial trade, not to mention wars and incursions, that made the traditions of one culture available to the others.
From the Paper
"In addition, the precursors of Islamic art and architecture?elements that continued to inform their vision throughout their expansion into Spain and later, via their export to ?corporate? Europe by returning Crusaders?cannot be surgically removed from any consideration of so-called Islamic influences on medieval European art and architecture. Rather, they must be viewed as a substrate that upheld the Islamic vision by virtue of continuous adherence in the society in which Islam was born, and therefore as an unbroken line into the monastic traditions of medieval Europe. It was, moreover, the monastic tradition that formed the bedrock on which all other medieval art and architecture achievements were based; the monasteries were the repositories, after all, of the learning that would otherwise have been lost."
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"The World of Leonardo da Vinci", 2005.
An examination of Ivor B. Hart's book, "The World of Leonardo da Vinci: Man of Science, Engineer and Dreamer of Flight."
941 words (approx. 3.8 pages), 1 source, MLA, AU$ 41.95
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Abstract
This is a brief book review of Hart's book about the man behind the artist, Leonardo da Vinci. The paper explains that da Vinci had several other interests besides art work; he was a scientist, he managed to dream up methods of flight, and was also enthralled by engineering.
From the Paper
"Leonardo?s work as a scientist is too well known, nowadays, to say that reading Hart?s book for a contemporary student of the period fundamentally shakes his or her conceptions of Leonardo as an artist alone. However, rather than merely reinforcing the image of Leonardo as a quintessential master of all the disciplines, the reader emerges with a more balanced perspective of the Renaissance integration of science, theology, and art in the mind of Leonardo?an integration that in today?s highly specialized times seems enviable."
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Bauhaus, 2004.
This paper discusses the design movement called Bauhaus, which was initiated by German architect Walter Gropius in Wiemar, Germany, in 1919.
940 words (approx. 3.8 pages), 7 sources, MLA, AU$ 41.95
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Abstract
This paper explains that Walter Gropius applied classical architectural techniques to design theory, believing that there is no essential difference between the artist and the craftsman. Thereby, he introduced a completely new set of design principles called Bauhaus to art and crafts. The author points out that, though the Bauhaus movement was inspired by Cubism and Minimalism in design, it was still a unique, revolutionary movement. Some of the key features of this movement included less emphasis on detail and more on economic use of space. The paper relates that Bauhaus popularized functional design, a technique that focused specifically on the major functions of everything, including buildings, textiles, tables, and lamps to make them more easily accessible and usable. Color illustrations.
From the Paper
"Bauhaus artists included such prominent names as Mies van der Rohe, Paul Klee, Wassily Kandinsky and Oskar Schlemmer, who are responsible for bringing dramatic changes in the field of art and design. It is commonly believed that every change in design after the Bauhaus movement is inspired by the principles and techniques of this style. It can be rightly called the mother of all design movements in 20th century because till this day, we can see the impact of Bauhaus in the field of arts, architecture and crafts."
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Artist Frida Kahlo, 2004.
This paper discusses the legendary Mexican artist, Frida Kahlo, sometimes called a surrealist painter, Communist, and inspiration for one of the greatest painters of the 20th century, Diego Rivera.
2,605 words (approx. 10.4 pages), 8 sources, MLA, AU$ 97.95
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Abstract
This paper explains that Frida Kahlo?s physical suffering definitely stimulated her spiritual side as images came into her mind and then appeared in her paintings, similar to many physically handicapped artists, such as Toulouse-Lautrec. The author claims that the biography of Frida Kahlo, as written by Hayden Herrera, is perhaps one of the most interesting and complete stories about someone?s life that has ever been written. The paper contends that Kahlo is a type of traditional artist, called Mexicanism, which she embraced throughout her lifetime as a result of the Mexican Revolution of 1910 that resulted in a wave of nationalism throughout the country and prompted a new pride in traditional Mexican culture.
Table of Contents
Background Information: Biography and Reputation
Synopsis of Hayden Herrera?s "Frida: A Biography of Frida Kahlo"
Objective Critique
From the Paper
"Frida Kahlo was born on the 6th of July 1907 in Ciudad de Mexico as the third daughter of William Kahlo and Matilda Calderon. Her complete name was Magdalena Carmen Frida Kahlo Calderon. Her life was struck by misery ever since the beginning: in 1913, when she was six years old, she contracted poliomyelitis and her right leg was affected, appearing much thinner than the other throughout her life. She entered high school at the National Preparatory School, where she soon turned out to be the leader of a prank-oriented group of rebel teenagers. It was here that she came in contact with her future husband and soul mate, Diego Rivera, perhaps the greatest Mexican muralist who, at that time, was commissioned to paint a mural in the school auditorium."
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The Italian Renaissance, 2005.
Comparison of two works by Italian Renaissance artist, Sandro Botticelli: Venus and Mars and The Story of Nastagio degli Onesti."
2,510 words (approx. 10.0 pages), 0 sources, MLA, AU$ 95.95
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Abstract
The Italian Renaissance artists were a very influential group in the history of mankind, and their work continues to entertain art lovers and connoisseurs all around the world. This report is a summary and comparison of two of Sandro Botticelli's works from the Italian Renaissance period.
From the Paper
"Renaissance is French and was coined as a term in the late 19th century. In regard to art movements like the Italian Renaissance, the word is used to illustrate an intellectually based artistic revival that has been inspired by the study of existing Classical literature or art. The entire Renaissance movement originated in Italy around the beginning of the fourteenth century. The movement ran through the beginning of the sixteenth century after making its way through various other European countries.
The origins of the Renaissance can be tied to social and political movements of the time. Italy from a historical point of view in the fourteenth and fifteenth centuries can be traced back to unique occurrences in specific cities. The period was full of turmoil as there were many minor wars for internal or external commercial control as well as many political expansion attempts."
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Joseph Stella?s ?Old Brooklyn Bridge?.
This paper discusses, based on John Berger?s book, ?Ways of Seeing?, the experience of seeing Joseph Stella?s painting, ?Old Brooklyn Bridge?.
2,020 words (approx. 8.1 pages), 0 sources, AU$ 79.95
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Abstract
The paper explains that the ?Old Brooklyn Bridge? is positively aglow with color and light; the painting is alive and active, its linear composition is stellar, and the palate reminiscent of the industrial age in which it was born. The author points out that she sees the painting with increasing awareness and a deeper understanding of the artist?s intent, now understanding, in Berger?s words, that art becomes "a record of how X had seen Y.? The paper reveals that the clearest structure the author could discern in the background was a strategically placed depiction of the bridge?s recognizable towers.
From the Paper
"Reflecting further on Berger?s ?Ways of Seeing,? I recalled his section on perspective. One of the most remarkable aspects of Stella?s painting is its linear perspective. The lines representing the suspension cables of the bridge converge in space. The most notable conversion occurs at the very top of the canvas, where at least two of these beams intersect. Had I not known they were suspension cables I might have thought they were beams of light or just abstract lines. Yet although Stella approaches an abstract rendition of the Brooklyn Bridge, this painting is not what I would call abstract."
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Zwelethu Mthethwa, 2005.
A discussion of South African photography artist, Zwelethu Mthethwa.
1,102 words (approx. 4.4 pages), 6 sources, MLA, AU$ 48.95
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Abstract
This paper provides a brief biography of Zwelethu Mthethwa, explaining that he considers painting and photography to be equally important and is continually transferring notions from one field to the other. It discusses major characteristics of some of his famous works.
From the Paper
"In an article for ?African Arts? Kristina Van Dyke described Mthethwa?s work as portraits that ?do not aim to characterize their subjects as victims but rather as individuals who make creative choices that result in unique domestic spaces? (Van Dyke Pp). Jed Perl writes of Regarding Mthethwa?s ?Flex? which was shown in the first International Center of Photogrpahy?s ?Strangers? exhibition, Jed Perl writes that this series of black and white ?close-ups of African men?has a boldness that recalls avant-garde silent films? (Perl Pp). Sarah Caylor writes that ?much of the meaning lies in the intense examination of the physical specifics of clothes and settings, as well as physical and spatial relationships? (Caylor Pp)."
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The Etruscans, 2004.
A brief analysis of the arts and craft of the Etruscans.
717 words (approx. 2.9 pages), 4 sources, MLA, AU$ 31.95
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Abstract
This paper discusses the sculptures done by the Etruscans in ancient history. The paper presents the sculpture, "Etruscan warrior supporting a wounded comrade", from the early 5th century BCE, describing the era when it was created. The paper compares this sculpture to "Augustus in Armor", another sculpture created in 20 BCE. The paper illustrates the differences in these two sculptures according to the time period that they were created.
From the Paper
"While we think of the Etruscans as a monolithic group, in fact, they covered a wide geographic area with a civilization that spans many centuries from a millennium BCE to their putative dissolution a couple of decades BCE (Time International, 2001). The sculpture Etruscan warrior supporting a wounded comrade, from the early fifth century BCE, was created in about the middle of the Etruscan era. At the time this sculpture was created, the Etruscans had begun exploring the coast of what is now known as the Italian peninsula. The Etruscans enjoyed dominion on the seas at the time, giving them ?tremendous potential for trade as well as piracy? (Time International, 2001). It is obvious from the embellishment on the clothing of the two warriors that the Etruscans enjoyed their sea-based wealth. It is also easy to believe, as Time (2001) contends, that the Etruscans were a more jovial people than were the Romans who supplanted them; despite the obviously unpleasant fact of the warrior being wounded, neither face is particularly anguished, and, indeed, the wound is probably not all that grave."
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Apocalypse Art and Technology, 2004.
Examines a modern form of art called "apocalypse" and shows how it is linked to modern technology.
3,500 words (approx. 14.0 pages), 30 sources, APA, AU$ 122.95
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Abstract
This paper examines modern art, in particular ,that which is referred to as ?apocalypse art? and examines the interactions between art and technology. Specifically, paper looks at the new dimensions that technology has contributed to the rendering of art as well as what contribution or impact that art has rendered to technology. The methodology for this study is examination of several artists and scholars who are in some way interconnected in this process of producing apocalypse art. Artists discussed include Joe-Peter Witkin, Roy Ascott, and Dinos and Jake Chapman.
From the Paper
"The social impact of the new art-technology relationship is quite simply due to knowledge being more plentiful than at any other time in recorded history. To further expand on that element it must be understood that the application of knowledge, as well as man?s integration with knowledge, has not at any time in history been so cohesive with each other. This is due to the global society now established in the world which is aided by the science of computing which brings all knowledge, all applications and all the minds of men together in one vast conglomerate freeway of information."
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Photo Reportage, 2005.
A discussion on digital photography and how it allows the photographer to distort the image of reality.
1,146 words (approx. 4.6 pages), 2 sources, MLA, AU$ 49.95
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Abstract
This paper looks at how photojournalists can play a key role in shaping the public's image of reality. Special emphasis is placed on how photojournalists, using advanced digital equipment, can depict a war and, in particular, how they can impact the public's image of the conflict in Iraq. The paper points out that, now more than ever before, the most important issue in photo reportage today is ethics.
From the Paper
"When an unknown aphorist coined the phrase ?A picture is worth a thousand words,? the world was a lot simpler. For certain, digital photography and digital sound were not even figments of most people?s imaginations. Perhaps the odd genius, a Leonardo da Vinci for instance, might have imagined such wonders. But then again, he might well have avoided mentioning it since he was a painter, made his living by daubing charcoal or oils on various papers, boards and canvases."
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American Landscape and Social Attitudes, 2004.
Discusses the history of the relationship between American society and the country's natural environment.
1,600 words (approx. 6.4 pages), 13 sources, MLA, AU$ 65.95
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Abstract
American attitudes towards nature have undergone a complex change in a relatively short period of time, ranging from attitudes of reverence for nature to a view of nature as handmaiden to the technological development. This paper shows that many environmentalists are of the opinion that America is neglecting the preservation of the environment. The societal attitudes within America are often reflected directly in their attitudes towards nature. However, the attitude towards the natural environment has never been clear-cut, and there has always been a certain amount of ambivalence towards nature. The paper examines how this ambivalence is reflected in the work of artists and writers, such as Jack London.
From the Paper
"A sociological and socio-cultural view sees London?s works as related to the cultural trends, mores, and traits of the time. This can be seen in the well-known story "To Build a Fire", which is often called the ?quintessential? naturalist short story. The reflection of differences and dichotomies in American society can be seen in an analysis of the story. One of the most important themes in the naturalist movement, and also the crux of the novel "To Build a Fire,? is determinism as opposed to free will. Another is the seemingly amoral indifference of nature and the environment, which is coupled with issues of survival and the problem of making moral judgments in an amoral universe. Another aspect is instinct versus the intellect."
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Rodney Graham, 2005.
A look at the work of Canadian film maker and photographer, Rodney Graham.
1,250 words (approx. 5.0 pages), 4 sources, MLA, AU$ 53.95
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Abstract
This paper examines the theme of identity, or of changing identity, seen throughout Graham's work. The paper examines and analyzes several of Graham's pieces in order to illustrate this continuous theme. The paper explains how Graham's fascination with the permanent instability of the photographic, filmed self reflects his feeling that he never really had a clear vision of who he was as an individual or who he was as an artist.
From the Paper
"Rodney Graham is a Canadian artist, born in Vancouver in 1949. But he could be anyone?or so his art suggests. In Fishing on the Jetty, 2000, the Rodney Graham renders himself into his own text as a filmed subject. In this film/performance art piece, the viewer is witness to the sight of Graham playing Cary Grant in his own nautical version of Alfred Hitchcock?s ?To Catch a Thief.? Graham, within the context of the piece is himself, is the character of Grant, and is also the persona portrayed by ?Cary Grant,? the sublimely artificial romantic lead of the 1930?s classical film in a who-done-it about mistaken identity, a film where the actor portrays a constantly misleading man with a shape-shifting identity."
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The Biography of an Artist, 2004.
An analysis of the importance of biography in the art of Henri Matisse and Pablo Picasso.
2,350 words (approx. 9.4 pages), 8 sources, MLA, AU$ 90.95
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Abstract
This paper contends that the biographical aspects of an artist provides one of the most important dimensions in the history and study of art and allows one to trace the stylistic development within an artist?s overall career. The paper discusses two specific artists who are generally viewed as masters of their craft, Pablo Picasso and Henri Matisse, both of whom greatly influenced the artistic world in which they lived and continue to do so in the present time.
From the Paper
"Early in life, doubt and dissatisfaction with contemporary artistic formulas enabled Picasso to discover that a search for beauty according to the standards in which he had been brought up was not the aim he wished to pursue. The brilliance of his talent in his youth and the ease with which he absorbed the work of other great contemporary artists could have tempted him to become satisfied with the success that came to him at last after years of poverty in Barcelona and Paris, but the strength of his powers of expression, coupled with an unusual degree of courage, brought a crisis which forced him to abandon the easy road to fame and plunge perilously into new forms of artistic creation."
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Tattoo Removal, 2004.
An analysis of tattooing and the various methods of tattoo removal.
2,145 words (approx. 8.6 pages), 5 sources, MLA, AU$ 84.95
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Abstract
This paper presents the history of tattooing. The paper describes evidence of tattooing throughout many cultures across the world. The paper explains modern-day tattooing, which is used primarily to denote gang or other group affiliations or just for body decoration. Since both these reasons are subject to changing tastes and circumstances, there has developed a demand for a reliable way to remove tattoos. These methods are explored in the paper.
From the Paper
"The history of tattooing is a long and varied one. ?A tattoo is a permanent mark or design made on the body when pigment is inserted into the dermal layer of the skin through ruptures in the skin's top layer.? (?How Tattoo Removal Works?, 2004). A more recent development in this area, however, is the issue of tattoo removal. Only recently have advances in technology made it possible to effectively remove a tattoo. The process of tattooing, which inserts ink deeply into the layers of the skin, has traditionally made it very difficult to get rid of a tattoo once it's been applied. Modern techniques for tattoo removal include; dermabrasion, salabrasion, excision (surgical removal) and laser removal. There are also less thorough methods for covering a tattoo such as scarification or tattoo modification. Currently, the most favoured method of tattoo removal is laser removal, as it leaves little scarring and is very effective, although multiple laser treatments are often required."
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Michelangelo and Pope Julius II, 2004.
This paper discusses the relationship of Michelangelo and Pope Julius II to demonstrate the nature of Catholic art during the Renaissance period.
1,180 words (approx. 4.7 pages), 2 sources, MLA, AU$ 50.95
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Abstract
This paper explains that religious art during this period was an intensely social production and vision, a dialogue between religious leaders such as Pope Julius II and artistic producers such as Michelangelo. Popes commissioned artistic works and inspired, guided, and checked the artist?s individual vision. The author points out that Pope Julius II, who was as careful in planning as he was in his military achievements, enriched the landscape of Rome by adding many fine buildings to the city, including the Vatican Museum and art collection and the Sistine Chapel. The paper relates that the role of the artist was expanded rather than limited by the patronage and commissions of the papacy, and rather than embodying narrow religious ideals, Michelangelo and others were prodded to create works with expansive, complex renderings of Biblical figures as both human and divine in nature.
From the Paper
"Pope Julius II, often known as a kind of warrior pope because of his influence in political as well as spiritual affairs, even more renown to the ages for his tireless patronage of the arts. He is also called the savior of the papacy, because of his integrity, relative to his contemporaries, and his restoration of legitimacy to the church because of limiting some of its excesses?excesses, albeit not enough to stifle the Reformation later on. Also, it is unlikely that Julius would have, had he lived after the reformation, been able to commission such anthropomorphic and expansive works of religious art, some of which were designed to commemorate his own personal memories and accomplishments, such as the commissioning of the tomb that first drew Michelangelo to Rome."
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