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Hellenistic Art, 2002.
An insight into Hellenistic Art and its influences.
810 words (approx. 3.2 pages), 2 sources, MLA, AU$ 41.95
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Abstract
This paper discusses how Hellenistic Art was primarily influenced by Alexander the Great?s conquests, which introduced the culture, arts and philosophies of foreign lands into the Greek milieu and how it mirrored Alexander?s pride, his vision and his stature. It looks at how the term ?Hellenistic? describes the arts that fuse the Greek with Asian traditions and reflects a shift in Greek consciousness away from the pantheon of gods toward a private, wealthy sector of art collectors. It evaluates how while the Classical arts of Ancient Greece adorned temples, Hellenistic art decorated the palaces of kings and of the private houses of wealthy connoisseurs.
From the Paper
"New dynastic centers like those at Pergamum and Alexandria promoted large-scale palace architecture influenced by Oriental styles and scale. New royal patronage for the arts differed from that of Classical Greece city-state patronage. Instead of the anonymous, religious statues like that on the Athenian Parthenon, statues honored war victories, new syncretic deities, and portraiture of royal families. The faces and figures of gods and goddesses changed, influenced by the religious traditions of Egypt, the Far East and the Middle East. In short, Greece was less important to Greek art. The Classical period climaxed and left a legacy as grand of that of the Athenian Parthenon. Towns were already established, their architecture preserved."
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Spartan Art, 2002.
Examining the art forn known as Spartan Art and why it was named after the Ancient Greek city of Sparta.
901 words (approx. 3.6 pages), 2 sources, MLA, AU$ 47.95
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Abstract
This paper provides an historical analysis of Ancient Greece life in the city of Sparta and how this stark, simple and minimalist city-state was worthy of having an art form named after it. It shows how the city was known for its courage and military victories and how Spartan art depicts scenes of heroic myths and legends, in tune with the general Spartan emphasis on valor and victory. Examples of famous Spartan art pieces are mentioned and analyzed.
From the Paper
"The term Spartan has come to mean stark simplicity, stern self-discipline, and minimalism, a tribute to the way of life in the ancient Greek city-state. Military capital not only of the Pelopponese but of the whole of Greece, Sparta defended her boundaries and people with aplomb, instrumental in both ending the Peloponnesian War in 386 BCE and fending off the Persians in the fifth century BCE. Thus Sparta played as key a role in securing the integrity of Greek culture and the arts and possibly paved the way for the victories of Alexander the Great. Because of the focus on military life in ancient Sparta, Spartan art is not as renowned as that of its cultural rival, Athens. This does not imply that the arts were unimportant in Laconia; however, the dominance of military and athletic culture in the area superceded artistic expression by the end of the Archaic Period. Most surviving Spartan art is from the early 6th century BCE and definitely reflects the importance of war in Spartan society. Spartan art also indicates the position of women in that culture: Spartan women were athletically trained and educated to a degree rivaled by no other Greek city-state. Scenes from daily life occasionally make their way onto Spartan pottery. "
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Ancient Mesopotamia, 2002.
An introduction to the art and culture of ancient Mesopotamia.
794 words (approx. 3.2 pages), 2 sources, MLA, AU$ 41.95
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Abstract
This essay describes how the art and culture of ancient Mesopotamia was defined by its climate and geographical locations. It also shows how the weather and geographical conditions affected wars and power in the region - and the reflection of this fact through art and artifacts found in the region.
From the Paper
"Many believed that the south was the cradle of civilization until settlements dating back to around 5,000 B.C. were found in Northern Mesopotamia. Jarmo was the earliest of these settlements and was superseded by a series of cultures, Tell Hassuna, Samarra, and Tell Halaf. Tell Halaf was the most advanced of the early cultures (Mesopotamia pg). It is famous for Halaf ware, which is regarded as the finest prehistoric pottery in Mesopotamia (Mesopotamia pg). Halaf ware can be found at sites such as Neneveh and Tepe Gawra. While the north was making great advances in culture, ?civilization was just beginning in the south, particularly at Eridu."
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Baroque Art, 2002.
A study of the true definition of Baroque Art.
785 words (approx. 3.1 pages), 1 source, MLA, AU$ 40.95
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Abstract
This paper explores the two major modes of Baroque art, which are allied respectively with the Catholic and Protestant churches. It defines the art of this period as having a general sense of vitality and an emphasis on creating the illusion of movement. The paper explores the Baroque painting, sculpture and architecture, including the works of Rembrandt, Velasquez and Bernini.
From the Paper
"Unless we are scholars of art history we may have a somewhat distorted view of what constitutes Baroque art, for the term is often used in common parlance to mean any artistic or decorative object that is overly ornate and adorned with as many fripperies as it can hold. However, the term has actually a very precise definition, which this paper takes up as it explores the two major modes of Baroque art, which were allied respectively with the Catholic and Protestant churches."
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Native American Imagery, 2002.
An exploration of the creation of Native American imagery by nineteenth century artists, Edward Sheriff Curtis and George Catlin.
2,181 words (approx. 8.7 pages), 15 sources, APA, AU$ 100.95
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Abstract
The ?American? public has always had an interest in the lives of Native Americans. During the early 1800, this curiosity blossomed in a fascination. The paper shows that unfortunately, most Americans were content to relegate all Native Americans into this caricature of the "noble savage", dehumanizing them, and few settlers sought to understand the culture of the Natives whose land they were occupying. Fortunately two nineteenth century artists, Edward Sheriff Curtis and George Catlin did not share the same view. This paper discusses how these men dedicated their lives to the study and preservation of Native American tribal culture for posterity by creating imagery based on the Native American people. Although their methodology, content, and style were dissimilar, (Curtis used the camera and Catlin worked with oil paint), their goal was the same, to capture and record the essence of America?s indigenous people through art.
From the Paper
"Countless numbers around the globe have benefited from the information gathered during the 1800?s by Edward S. Curtis and George Catlin.
Without these records many of the customs and heritage that we know of as ?Native American? might be lost today.
It is easy to be critical of Catlin?s paintings when judging it against the realism of Curtis? photographs, but the goals of the two men were the same. The sincerity, accuracy, and honesty of the collections that were compiled by the ethnographists transcend their work from the category of mere art to the palate of life."
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Eugene Delacroix, 2002.
An analysis of the artist Eugene Delacroix's personal journal and its reflection on his art.
1,203 words (approx. 4.8 pages), 5 sources, APA, AU$ 60.95
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Abstract
This paper discusses artist Eugene Delacroix's journal, illustrating the aspects of the journal that contribute to his work. The paper discusses the works, the journal entries and what type of personality the journal seems to portray for the painter. The paper portrays how Delacroix's words in the journal give insight as to how his art reflected who he was and provides the world with an understanding of how the art is the artist.
From the Paper
"Throughout history it has been believed that artists place a bit of themselves into each work of art they produce. One classic artist, Eugene Delacroix provided the world with a tool by which to measure that assumption. Delacroix wrote his thoughts, feelings and soul into a journal that has since been translated for the world to read. His words in the journal give insight as to how his art reflected who he was and provides the world with an understanding of how the art is the artist."
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Botticelli, 2002.
A study of the Italian Renaissance painter Botticelli.
1,875 words (approx. 7.5 pages), 7 sources, MLA, AU$ 87.95
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Abstract
This paper examines the life and paintings of Sandro Botticelli. It portrays the life of the great Italian Renaissance artist who created the masterpiece "Birth of Venus". The paper analyzes this piece of art and provides its critical reviews throughout time. The author illustrates the intellectual environment of the artist's time, including paganism, theology, and the classical world.
From the Paper
"One of the most important artists to emerge from the early Renaissance and late medieval period in Florence, Italy was Sandro Botticelli. The Renaissance period in Italy and particular in Florence marked an era where for the first time there was a flowering of interest in the pagan, classical era of early Greece and Rome. Botticelli's "Birth of Venus" and "Primavera" paintings emerged quite early from this growing syncretism of medieval and classical interests. They were to become emblematic of a new period of interest in the human form and the human condition, as it might be expressed outside of the narrative constraints of Biblical and iconic art. However, as documented quite poignantly in The Bullfinch Guide to Art History, with the emergence of the High Renaissance style of specific, quite anatomically accurate art at the turn of the 16th century, this artist fell out of fashion. He died in obscurity and was ?only returned to his position as one of the best-loved quattrocento painters through the interest of Ruskin and the Pre-Raphaelites.? (West The Bullfinch Guide to Art History)"
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Native American Art Review, 2002.
This paper analyzes the art review of a Native American art exhibit at the American Craft Museum.
982 words (approx. 3.9 pages), 1 source, MLA, AU$ 50.95
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Abstract
This paper discusses ?Changing Hands?, an art review of a major Native American art exhibit at the American Craft Museum by critic David Revere McFadden. It opens with an overview of the exhibit itself and its highlights. The review, and the critic?s ?authority? to report on the exhibit are then discussed. Finally, there is a commentary of the effect the critic?s piece has upon one?s desire to view the exhibit.
From the Paper
"Changing Hands, the exhibit features several art forms of Native America. The artists who have displayed their work have given examples of both traditional and more contemporary pieces ? for example a reconstructed earthenware vessel of the type that might have been used centuries ago for water or other liquids. The several art forms shown by the Changing Hands exhibit include wool rug and vegetable dye; gold bracelet work inlaid with larimar, lapis lazuli,sugulited, shell, coral, obsidian and opal; earthenware sculpture; an acrylic collage on wood; glass and copper vase; cottonwood root sculpture; leather beltwork of silver, coral, turquoise, and serpentine; coral necklace with gold and pearls; pendants of gold, wood, silver, coral, turquoise, opal, shell, and lapis lazuli; earthenware canteens and jugs; hinged silver buckles; earthenware tiles of sand, copper, and oil on a wooden panel; sand media on wood."
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Raphael's "The Small Cowper Madonna" and Angelico's "Madonna and Child", 2002.
This paper analyzes the two paintings, comparing and contrasting the two from an art/history perspective.
1,030 words (approx. 4.1 pages), 0 sources, AU$ 53.95
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Abstract
The paper compares and contrasts these two Renaissance interpretations of the Madonna and Child. It looks at the differing stylistic elements and discusses why the paintings are significant works of art for their timeframe. The attempt to blend the real world with the spiritual is explored and the painters? different techniques in their quest to achieve that blending are studied. The paper concludes with a concise summary of the similarities and the differences between these two paintings.
From the Paper
"Raphael spent several years in Florence where he produced seventeen images of the Virgin Mary and Child. During that time, Leonardo da Vinci and Michelangelo were his primary teachers, which would account for his stylistic rendering of the Madonna and Child. The Small Cowper Madonna, which was done in oil on wood and was completed around 1505, reflects the innovations that he learned form his years with Leonardo. He mirrored the Florentine method of painting that concentrated on intimacy and simplicity of the setting."
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Feminist Art, 2002.
A study of the evolution of feminist art.
2,165 words (approx. 8.7 pages), 10 sources, APA, AU$ 98.95
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Abstract
This paper examines the political origins of feminist art in the 1960's and addresses the social climate that brought on the birth of the art movement. It describes the divisive nature of the feminist versus universal art debate. The paper argues that the civil rights movement in companion with feminist art has ceased to be a ?movement?. In addition, the paper describes art works of well know female artists of this era.
From the Paper
"Feminist art as a named movement evolved in the context of the late 1960?s early 1970?s political climate. The movement contextually cannot be separated from larger civil rights movements and specifically those relating to women; like the sexual revolution, the women?s liberation movement, and the formation and growth of groups like the National Organization for Women. Strictly speaking there can be no real separation of the feminist art movement from the civil rights movements in its context because so much of art of the era acted as the voice and vision of the messages of the movements as a whole. Though there are of coarse exceptions to this rule, art as a whole during this period was a demonstrative agent for social change and feminist art is definitely included in that context."
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Ndebele Mural Art, 2002.
A study of the colorful artwork produced by the Ndebele ethnic group of Southern Africa.
1,775 words (approx. 7.1 pages), 2 sources, APA, AU$ 84.95
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Abstract
This paper explores the art work produced on houses and clothes by the Ndebele, a broad range of ethnic groups found across Zimbabwe and the Transvaal Province of South Africa. These groups are also noted for their colorful wall paintings and the way that their costumes use the same motifs, showing a connection between their dress and their homes that extends back into their history. The paper describes a typical Ndebele home, with emphasis on the way it is decorated, materials used and the use of color and patterns. It examines the symbolism of specific shapes. The paper also examines the influence of Western imagery on Ndebele art.
From the Paper
"These designs, however, apparently do not symbolize cosmological or religious concepts. There is also no apparent symbolism to the color used. The beadwork that is made by Ndebele culture is another matter for it is seen as an expression of individual or social identity. Geometrically patterned beadwork is typical of Nguni culture but is unique in Ndebele culture in the extent to which it is used on clothing. Beadwork displays social status by the number and quality of beads used. Age is also communicated, as can be initiate and marital status. The engaged girl spends much time making beaded waist rings for the women in the family and in the family of her betrothed. Beadwork also denotes newly initiated young men, who wear heavy waist and arm rings and other beaded ornaments produced by their mothers during their initiation period (4)."
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Art History, 2002.
A discussion of the philosophy of history of art.
1,220 words (approx. 4.9 pages), 5 sources, MLA, AU$ 60.95
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Abstract
The paper examines how humankind has always had an inherent need for expression and this need has been fulfilled through various media such as art, literature, poetry and music. It looks at how the field of art has always been a fascinating form of human expression in that it blends aesthetics with the artist?s comment or interpretation of culture, history, politics and other aspects of society. It describes how art historians study art from two primary angles: the quality of artistic rendition and the historical reflection of the artist?s time. It evaluates the theories of some famous philosophers such as Plato, Aristotle and Kant on how an art historian needs to develop objectivity in interpreting the life and times of the work being studied and the artist?s own intended expression.
From the Paper
"Another epistemological assumption underlying art is that it necessarily has to be concerned with producing something of beauty, as defined by social standards. This is a natural fall out of the underlying theory that knowledge of vision, coded to recognize aesthetics and beauty, is necessary to appreciate art. An opposing philosophy exists wherein great art critics like ?John Ruskin, Herbert Read, Morris Collis and Eric Newton would judge art from a wider angle?. Any object may be called beautiful?feelings which one obtained in the aesthetic contemplation of it are pleasurable feelings? (Ijele Web site). This is in line with Kant?s Critique of Pure Reason, where he dealt with aesthetics as if it only has to do with perception."
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Five Portraits, 2002.
A review of five different paintings of women by five different artists.
2,290 words (approx. 9.2 pages), 4 sources, MLA, AU$ 103.95
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Abstract
This paper analyzes five different portraits - ? Manet?s ?Olympia?, Goya?s ?The Naked Maja?, Titian?s ?Venus of Urbino?, Velazquez?s ?The Toilet of Venus? and Giorgione?s ?Sleeping Venus?. It discusses how these five portraits collectively present us with a sense of how art shifted from the beginning of the Renaissance and thus the beginning of Modernist sensibility through the rise of the industrialized world into late modernism. However, while nearly everything changed in the world and in the world of art, the position of women in society and so the position of women on canvases changed very little over the course of these centuries.
From the Paper
"Titian was perhaps the greatest colorist of the Renaissance, and by the time that he died in Venice in 1576 his use of color and the way that he blended it with form had forever changed the course of European painting. He most important contribution to European painting, as Huse (1993) argues, is that his works created a visual alternative to the sculptural and highly linear Florentine tradition that had been brought to prominence by both Michelangelo and Raphael ? and that during their own tenure seemed the only possible way in which to interpret the world."
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Munch and Expressionism, 2002.
A biography of the life and works of the artist Edvard Munch.
2,782 words (approx. 11.1 pages), 4 sources, MLA, AU$ 122.95
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Abstract
This paper examines the life of the German painter Edvard Munch and his influence on German Expressionism. It analyzes how the death and disease that is so much part of Edvard Munch's art was a natural consequence of the time in which he lived and the painful circumstances of his personal life. It shows how he was able to take this pain and grief and synthesize it into art and revolutionized the way visual arts were perceived. Not satisifed with the range that canvas and oil gave him, Munch turned to more innovative technique in an effort to create art that could be reproduced so he carved wood blocks and working closely with printers developed lithographic techniques that changed the way art is made.
From the Paper
"Like the paintings of the Impressionists -- especially the Post Impressionists -- Munch used tremendously bold strokes and very aggressively attacked the canvas, often scratching and etching the dry paint and applying layer after layer of thick paint in unnatural colors. Filmmaker Peter Watkins in a docu-drama film on the life of Munch does an amazing job of catching this process on film. (Watkins online) The often-sickly Munch, attacked the canvas with the same sort of physical intensity as the more robust Gaugain but of course for different effect."
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The Futurist Movement, 2002.
A paper which examines the art of the Futurist Movement which originated at the end of the nineteenth century.
1,860 words (approx. 7.4 pages), 6 sources, MLA, AU$ 87.95
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Abstract
The paper discusses the origins of the Futurist Movement whose art-work reflected the energy and the changes of the late nineteenth/early twentieth century. It shows how Norwegian Impressionist artist, Edvard Munch's "The Scream" - which relayed a message of total dread and horror that comes from trying to realize the preciousness of life in a world of carnage - laid the groundwork for the movement's message. The paper examines the work of others who identified with this movement, such as writer Filippo Marinetti and artist Marcel Duchamp. The paper also touches on the Dadaism movement which orginated from refugees from WWI Germany and explores the works of several Dadaists, such as artist Jean Arp and historian Hans Richter.
From the Paper
"While Dadaism had movements all over the world, it was birthed from refugees of World War I in Zurich. The dehumanizing impact of the industrial age moved into the realm of the absurd during the Great War. No one in Germany escaped the horror of that bloody war unscathed. It was like a self-inflicted plague, not altogether unlike tuberculosis or any other disease, only making less sense. During that war was the first time that the modern implements of fighting came into use on the battlefield, and the soldier in the trenches achieved a new level of insignificance. They became canon fodder, with death often time coming from hidden mines, distant snipers, from big guns and airplanes that could only be heard and not seen. The carnage of the war and the desperation that followed clearly marked the souls of these artists. Painting landscapes made no sense in that context."
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?Coney Island?, 2002.
A review paper on the photo-essay book, "Coney Island" by Harvey Stein.
906 words (approx. 3.6 pages), 1 source, AU$ 47.95
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Abstract
This paper explores the way in which American photographer, Harvey Stein, portrays New York City's kitschy escape destination in his photo-essay book "Coney Island". The paper discusses how Stein uses color and subjects to put together a book which so successfully reflects the feel and atmosphere of Coney Island.
From the Paper
"Instead of giving Stein credit for continuing to grow rather than fall trap to a particular style, his critics lament his progress much the same as we lament all progress and our own aging and growth away from the things we found so magical in our youth.
But Stein is a photojournalist and the story changes with the times. Stein doesn't seem interested in the story behind the scenes, but rather in that which presents itself now in the pure, raw immediacy of the moment."
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