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"After the Bath", 2005.
This paper discusses in detail Edgar Degas's "After the Bath," with respect to his stylistic choices.
1,748 words (approx. 7.0 pages), 7 sources, MLA, AU$ 90.95
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Abstract
This paper discusses the subject matter and analyzes formal elements such as composition, line, texture, mass, and volume. It questions how Degas used color and light in this painting; how he organized design principles of balance, rhythm, and proportion; and whether this painting is telling a story or just simply a snippet into the reality of the subject like a photograph? Other questions include what symbolism and imagery is evident in the painting, how effectively the artist used the materials and formal elements to create a particular impression or illustrate a theme, whether Degas was successful, and what did this painting mean to him?
From the Paper
"I chose a work by Degas because I believe that for his time, he was an innovative thinker. Many art experts place his work amongst that of the Impressionists. Like some, I believe he was at the tail end of this movement, focused less on light and subdued choice of color and focused more on his subject's movement. This is not to say that he did not use light and color to convey his message. In fact Anthea Callen writes: "Degas' culture made it inevitable that he represent masculine desire and anxieties about masculine identity evoked by such desire through an apparently detached masculine scrutiny of the female body" (6). It is because of his blatant obsessions that such passion can be revealed to the viewer. His intensity is apparent throughout his depth of work and his critical way of pushing the envelope reflects his pursuit of "the great Neoclassicist's linear perfection" (Hartt, 850). According to the art historian Hartt, "Degas defined the goal of his own style succinctly as 'bewitching the truth'" (851)."
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The Future of Art, 2004.
An analysis of the future of artistic styles through a review of the history of art.
2,831 words (approx. 11.3 pages), 12 sources, MLA, AU$ 135.95
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Abstract
This paper discusses the history of art from the Renaissance period through to post-modernism in an attempt to determine the future of art. The paper contends that changes in artistic style, subject, composition, technique, and movement are mainly a result of changes in the social and economic environment in which the artist lives.
From the Paper
"The Renaissance heralded in an entirely new tradition of art form during the 14th and 15th centuries, with a wide variety of painters, poets, writers and architects that literally and figuratively saw the world in a different light from the dark and dismal Middle Ages. Humanism developed in Italy in the field of literature, once again honoring the Greek and Latin classics for their scholarship and moral ethics. The humanists emphasized an enormous confidence in the power of reason as a source to understand human nature and its place in the world's order (Art: A World History, 215). The Reformation, a religious revolution with an emphasis on individual faith, was promoted by individuals or "protestors" such as Martin Luther, Ulrich Zwingli, John Calvin and John Knox. Alarmed at the corruption of the Catholic Church, they wanted to return Christianity back to its earlier simplicity and biblical foundation."
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Pablo Picasso, 2004.
A biographical essay on the life and works of Pablo Picasso.
1,170 words (approx. 4.7 pages), 4 sources, MLA, AU$ 65.95
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Abstract
This paper discusses the life and works of the most famous Spanish painter and sculptor, Pablo Picasso. The paper examines the development of his artistic style and claims that almost all aspects of his creative work are based on sensation and desire. The paper explores how Picasso transformed one of the currents of modern art.
From the Paper
"Pablo Picasso a Spanish painter and sculptor, is being considered as one of the greatest artists of the twentieth century. (Pablo Picasso: Estate of Pablo Picasso / Artists Rights Society) Picasso had been famous as no artist had been ever, being a pioneer in every discipline he chose, a master and a protean monster, having his influence on every art movement during his time. Not even Michelangelo could be considered as famous as Picasso during his own lifetime. And no one will ever be again as famous as Picasso was. (Artists and Entertainers: Pablo Picasso) He was born in Malaga on October 25, in the year 1881 as the son of Jose Ruiz Blasco, who was an art teacher, and Maria Picasso Lopez. Picasso created more than 20,000 works during his lifetime. Picasso was a genius who could be understood from his early years itself, that by the age of 10 he had made his first paintings. (Pablo Picasso: Estate of Pablo Picasso / Artists Rights Society)"
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The "Pieta".
This paper explores Michelangelo's "The Pieta" and the relationship of Mary to the Catholic faith.
1,060 words (approx. 4.2 pages), 2 sources, APA, AU$ 60.95
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Abstract
This paper explains that Michelangelo had a remarkable understanding of Mary; in his sculpture, "The Pieta," he shows Mary, eternally young, cradling the body of her dead son, Jesus. The author points out that Michelangelo never intended to create a literal interpretation, but rather to show Mary's transcendence and her ultimate understanding that, without her joy and her loss, the birth and death of her son, there would be no salvation. The paper concludes that one of the biggest lessons of Mary, as depicted in "The Pieta," is that real faith means still believing when reason tells an individual that all hope is gone.
From the Paper
"Mary's experience is almost incomprehensible. She becomes pregnant in a way completely unintelligible to anyone, but an angel tells her she carries the Son of God -- while she is alone, with no witnesses -- and she believes it. Presumably she has to go to her husband-to-be, Joseph, to tell him she is pregnant -- but still a virgin, never having laid with any man. Apparently, Joseph, demonstrating great faith, also believes her. Then she has to raise this wonderful child who dazzles the rabbis in the temple, knowing that God will take Him back. When he does, Jesus dies a terrible, drawn-out and agonizing death. After his death, we see in "The Pieta" that Mary cradles him in her arms, across her lap."
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Warhol and Koons, 2004.
An analysis of how the work of Andy Warhol and Jeff Koons refers to consumerism and a consumer society.
3,246 words (approx. 13.0 pages), 7 sources, MLA, AU$ 150.95
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Abstract
This paper discusses the works of artists Andy Warhol and Jeff Koons. The paper contends that art critics continue to debate Warhol's legacy, life, works, and the value of the artists whom he spawned, such as Jeff Koons. The paper claims that, viewed in their totality, both artists' lives and creations give profound evidence of the ability to subvert the totalizing media gaze of advertising and sentimentality with self-conscious reproduction of images, media, and subjects.
From the Paper
"Andy Warhol has grown so ubiquitous as a presence in modern art that it is easy to forget that once a can of tomato soup was merely a can of tomato soup in the eyes of a world that consumed such advertising with a spirit absent of irony. However, before Andy Warhol came to his fullest flourishing as an artist in the Pop Art milieu, if one saw a can of tomato soup on a commercial aisle, one would likely, simply see a product label, not recall Warhol's famous, repetitive image of the soup in one's mind. By elevating a depicted can to the level of art, by presenting a brand label, perfectly repeated as art, a consumer savvy to Warhol was able to witness a message beyond that of product identification, or to buy a particular kind of Campbell's soup-repetition becomes commentary on the very media of advertising itself, that was attempting to induce a consumer to become more attracted to one brand of soup than another brand of similarly tasting soup, regardless of quality or flavor."
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Catalan Modernist Artists, 2004.
An analysis of the French influence on Catalan modernist artists.
3,353 words (approx. 13.4 pages), 12 sources, MLA, AU$ 153.95
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Abstract
This paper focuses on the modernist or "modernista" movement of the early 20th century and examines how French culture and artists of the time influenced these artists. The paper also discusses how these influences bled through to their own cultural identity and expression in Spain.
From the Paper
"It is difficult to imagine the art world without a French influence. It seems that throughout history much of art has been based out of French culture and social ideas. The central location for such artistic creation has primarily been that of Paris, France. It seems that many artists have journeyed there for education or intellectual freedom of expression. It is a special place, a place that thrives on the energy art represents to the world. Even today, it is the place to be an artist. There is a certain allure and safety as if an artist's identity automatically fits with Paris. Maybe the draw can be attributed too much of its pulse is generated by art and the museums there that house art. This pulse breeds a certain rhythm artistic people can relate to and feel comfort. This in not to say that art cannot be produced in other cities. It just seems that many artistic movements have found their beginnings in this city. Still I think the reason that many movements thrive elsewhere is because artists take their experiences home with them. The cultural influence carries over to their new environment."
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Antonio Gaudi, 2004.
An analysis of Spanish architect, Antonio Gaudi, and his connections to his birthplace, Barcelona.
4,010 words (approx. 16.0 pages), 6 sources, MLA, AU$ 174.95
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Abstract
This paper discusses Barcelona's famous architect, Antonio Gaudi. The intrinsic relationship between the city and the architect is explored in the paper. The paper presents a brief biography of Gaudi and examines the general characteristics, influences, and styles of his work and creations. The paper describes three of Gaudi's many projects in Barcelona: the Sacred Family (La Sacrada Familia), La Pedrera (Casa Mila), and the Guell Park.
From the Paper
"As some who has visited Barcelona, one would perhaps always remember the historical area around Los Ramblas, the old Gothic Cathedral or the Olympic Stadium, as well as the special charm of the city, proud in its Catalan spirit, but there is little chance that something is likely to impress you more than the presence of Antoni Gaudi in the city, his modernist creations, his dedication to the city and, even more so, the intrinsic relationship between the city and the architect. Indeed, Gaudi has only worked and created in Barcelona and the city represented to Gaudi something that Aix-en Provence was for another artistic genius, Cezanne : place of inspiration and artistic evolution, but probably also the only place where the interior effervescence could be properly exploited."
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Salvador Dali, 2004.
An analysis of the life and works of world-famous Spanish artist, Salvador Dali.
2,286 words (approx. 9.1 pages), 3 sources, MLA, AU$ 113.95
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Abstract
This paper discusses the life and works of one of the most important artists in the 20th century, Salvador Dali. The paper examines the influence Dali had in the art world. The paper contends that his work was highly influenced by the Surrealist and Dada movements, and his spectacular appearance, with a large waxed moustache and big eyes, helped him become even more memorable to the world. The paper explores Dali's theories on art and science that changed the way many people viewed art and artistic pursuit.
From the Paper
"Salvador Dali was born in Figueres, Spain, located in the Catalonia district, on May 11, 1904. He had a younger sister, and his father, also called Salvador, was a notary. He attended a private school operated by the Brothers of the Marist Order in his hometown, and was an average student. In 1916, on vacation, he viewed his first modern paintings, and remembered the experience, because he began to study drawing with a teacher in Figueres after he returned home. By 1918, he enjoyed two small exhibitions of his work in his hometown, and began to explore other modern painting techniques such as impressionism and pointillism. During this time, Dali also dabbled in writing. He published an article in a college magazine and wrote poetry. This indicates how multi-faceted the artist was. This would show up later in his career when he continued to experiment with many different art forms, and even tried his hand at filmmaking. He also began to publish an unconventional newspaper for his fans later in his life."
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Art Therapy, 2003.
This paper is a research proposal to study the experience of various ethnic cultures when participating in art therapy.
2,315 words (approx. 9.3 pages), 24 sources, APA, AU$ 114.95
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Abstract
This paper explains that art therapy is an emerging psychotherapeutic tool, which is highly beneficial to the ethnic client because culture differences can be safely explored, trust issues can be identified and restored, learning can occur, and adaptation can take a natural, progressive form. The author points out that, since art therapy liberates, therapists employ art therapy in ethnic client rehabilitation, including in prisons, to promote mental health and general well-being. The paper states that the research will use the House-tree-Person technique, in a case study modality, taking care not to overreach the analysis.
Table of Contents
Introduction
Background
Art Therapy and Landmarks
Art Therapy and the Ethnic Criminal Offender
Fresh Forms of Art Therapy
Statement of the Problem, Purpose, and Significance
Expectations and Anticipations Concerning
Results and Their Usefulness
Research Question
Limitations and Delimitations
Overview of Procedures
Terms
Art Therapy
Psychotherapy
Anticipated Procedures for Study Verification
Methodology
Plan for Data Analysis
Outline for the Study's Overall Structure
Closing Summary
From the Paper
"Culture then, teaches one how to live - our spiritual rosetta stone, acceptable behavior in differing situations, and how to propagate the culture to ensure its survival. Culture often directs the value systems, norms, relationships, quest for life's meaning, definition of eternity, and ultimate destination. This is often seen in the clinically depressed or hopeless patient; a return to their 'norm' - their traditions - brings a sense of connectedness, a pervasive peace upon arrival."
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19th Century Art, 2004.
A comparison of 19th century art, with a focus on Jacques-Louis David and Jean-Dominique Ingres.
1,226 words (approx. 4.9 pages), 7 sources, MLA, AU$ 66.95
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Abstract
This paper describes the Neoclassical art movement, a severe, unemotional form of art that was traced back to the style of ancient Greece and Rome. It was a combination of aesthetic attitudes and principles based on the culture, art, and literature of ancient Greece and Rome and was characterized by emphasis on form, simplicity, proportion, and restrained emotion. The paper discusses and compares two artists from this period, Jacques-Louis David and Jean-Dominique Ingres. Several of their works are examined in the paper.
From the Paper
"In Europe, the nineteenth century was an age of radical change during which the modern world took shape. In a world that was experiencing a population explosion of unparalleled magnitude, revolution followed revolution, a pattern punctuated by counter-revolution and conservative reaction. In thought as well as in science, the nineteenth century was an era of grand new theories through which visionary thinkers attempted to unify whole bodies of knowledge into precise, well-ordered systems. Artist in the nineteenth century were also confronted with new innovations and their individual artistic styles and works changed with the times. These artists found themselves using the elements of line, shape and color to represent their private world, the realm of imagination and feeling. The functions of the artist and of the artist's medium were decisively transformed by the modern world. "
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"The Structure of Scientific Revolutions", 2004.
An analysis of Thomas Kuhn's "The Structure of Scientific Revolutions" and its influence on postmodern art.
2,918 words (approx. 11.7 pages), 13 sources, MLA, AU$ 138.95
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Abstract
This paper discusses Thomas Kuhn's famous work, "The Structure of Scientific Revolutions," in an attempt to trace the connections between the theory of scientific paradigm creation and shift and the development of modern and postmodern thinking in the arts. This particularly refers to Kuhn's influence on post-structural philosophy and language theory. The paper traces some of these connections and indicates to what extent Kuhn's major work has been influential and connected to the modern artistic and linguistic movements. The paper contends that, in order to show the linkage clearly between Kuhn's theories and modern art, his work cannot be understood outside of the broader historical context in which it was written.
From the Paper
"What Kuhn hypothesized in The Structure of Scientific Revolutions was that scientific thought and theory did not progress in a consecutive linear fashion. New concepts or theoretical paradigms came about in a non-sequential and sudden fashion and were not coterminous or even necessarily theoretically related to the previous scientific paradigm. The following is a very simplistic outline of his theory but it encompasses the central tenets and aspects that made his work so influential. Firstly, science had been based on presumptions of certainty and objective infallibility. The central concept that characterized classical science was that it was a normative and sequential progression of knowledge and understanding of reality."
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"Eyes Wide Open", 2005.
A response paper to an art installation in Central Park, which conveys the reality of the Iraq war.
945 words (approx. 3.8 pages), 2 sources, MLA, AU$ 54.95
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Abstract
"Eyes Wide Open" is a politically and socially conscious art installation sponsored by the American Friends Service Committee, displaying the shoes of many American soldiers who were killed in the war against Iraq. This paper provides a response to the exhibition, bringing home its powerful message: in these shoes once stood human life and the physical emptiness after death.
From the Paper
"The exhibit itself visually and viscerally brings the concepts of the course home. Photos of the Central Park installation that I saw can be found on the "Eyes Wide Open" website. However, even the pictures do not capture the essence of the exhibit. The sheer number of empty old shoes on display was astounding. At first I had no idea why the shoes were there; they were obviously on display for an artistic purpose and were not part of a massive Central Park garage sale. As we made our way through the labyrinth of shoes, my family and I encountered the other essential part of the exhibit: the names. Attached to each pair of shoes is a tag bearing the name and age of an American soldier who died in Iraq."
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"Priory at Vauville, Normandy", 2005.
An analysis Jean-Francois Millet's painting, "'Priory at Vauville, Normandy".
1,854 words (approx. 7.4 pages), 0 sources, AU$ 95.95
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Abstract
This paper looks at Millet's painting, which is more than the simple, decorative landscape it may appear to be on first examination. It shows that it is a work by an artist whose painting of rural and peasant scenes had made him successful.
From the Paper
"The rough, contorted path, passing through a narrow gateway to the haven of the Priory which links earth to heaven can be seen as a representation of the path of the soul through earthly labors to ultimate salvation; it is also a powerful reminder of the earthy quality of ordinary peoples' lives in rural France, with the mud and stones standing for the material conditions of their lives in which they were trapped. There is thus a social criticism present in this work as well as a spiritual message. The domination of earth over sky in terms of the area of the painting it occupies would seem to underline this aspect of the painting. However the placing of the Priory and the relative brightness of the sky, the sense of space conveyed by the sea and sky in the upper portion of the painting, contrasting so sharply with the quite congested an claustrophobic atmosphere of the earthy lower portion, suggests strongly the presence of salvation and hope. In that sense the Priory stands for the enduring qualities of the human soul and its unquenchable potential for salvation. From bottom to top, the picture goes from dark to light, and from earth to heaven. It is, in the final analysis, a landscape of hope."
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"Friends of the Shuttlecocks", 2005.
A business proposal for addressing the need of a nonprofit, public arts program called "Friends of the Shuttlecocks".
863 words (approx. 3.5 pages), 2 sources, MLA, AU$ 49.95
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Abstract
This paper presents a business proposal from PKC Associates designed to help "Friends of the Shuttlecocks" increase its membership and develop an endowment fund in the range of five to ten million dollars.
From the Paper
"It will be difficult to rapidly build an endowment of the size envisaged, five to ten million dollars, without significant corporate donations. A few well-known organizations, many of which appear in the opening credits of PBS programming, will be further investigated by PKC Associates and those most likely to be interested in our proposal for the support of public artworks in Kansas City will be invited to Kansas City to view the installations; if they are unable or unwilling to travel, PKC Associates senior staff will visit them and show them the promotional tape (see below), answer their questions, and inform them of the significant benefits to them (tax considerations and 'naming opportunities' and more, listed below) and to Kansas City and to the nation of supporting this work with either a current or posthumous gift."
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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$ 44.95
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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$ 81.95
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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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