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History of Wilmington, North Carolina, 2002.
A discussion on the history of Wilmington, North Carolina with a focus on Wilmington's local artist 'Minnie Evans' and Airlie Gardens.
2,280 words (approx. 9.1 pages), 9 sources, MLA, AU$ 103.95
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Abstract
The following paper discusses one of the many historical attractions in Wilmington, the famous Airlie Gardens. Designed at the beginning of the 1900?s, it encompasses some sixty-seven acres of post-Victorian European style gardens, including ten acres of freshwater lakes. This paper also focuses on the life and works of Minnie Evans, who worked as a gatekeeper in the Airlie Gardens, from 1948 to 1974, painting the scenery in the gardens whenever she had a break. This paper discusses the way in which her drawings of the Airlie Gardens helped her start her career as a well-acclaimed artist.
From the Paper
?A descendent of slaves from Trinidad, Minnie was born in a log cabin in Long Creek, North Carolina on December 1, 1892. She and her mother moved to Wilmington in 1893, and there Minnie was raised by her grandmother. She completed the fifth grade, and then went to work as a sounder, selling oysters and clams door-to-door. Minnie always saw a world invisible to everyone else and throughout her life, even her childhood, her night dreams were filled with visions, and her days filled with sights and voices only she experienced.?
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Rauschenberg as a Reflection of Three Philosophers, 2002.
This paper discusses Robert Rauschenberg?s painting ?Persimmon? from the concepts presented by Heidegger, Merleau-Ponty and Nietzsche.
1,920 words (approx. 7.7 pages), 6 sources, AU$ 90.95
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Abstract
The author states that Rauschenberg?s ?Persimmon? does not look like a real subject, yet it is a real thing. From Heidegger, the ?strife? between the rational and the irrational is the key to art. From Merleau-Ponty, the strength of Rauschenberg?s work is found in its inherent irrationality. From Nietzsche, art represents the strife inherent in human condition.
From the Paper
"Rauschenberg frequently takes subjects from nature (again, as is traditional in Asian art) and reconfigures them in a bright, compiled, collage-style form, so that the apparently surface perceptions of nature and color become slightly askew. One is cognizant of the fact that one is observing something simple and natural but not necessarily observing the subject as one might in so-called real life and in nature. One feels as if one is viewing the artist?s perceptions of what is real, rather than the thing itself."
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Gerhard Richter, 2002.
This paper looks at the life of German artist Gerhard Richter.
2,370 words (approx. 9.5 pages), 5 sources, APA, AU$ 106.95
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Abstract
This paper examines the contributions of Gerhard Richter detailing with the different stages of his life, beginning with his involvement in Hitler Youth during WWII, his involvement in East German politics which enabled him to move to West Berlin before the Berlin Wall went up. Richter painted, but he used photographs as the basis for many of his works which are abstract in nature. The writer uses several examples of Richter's works to illustrate how he was constantly questioning the role of modernity in art and life.
From the Paper
"Richter asks us again and again in his work to question these ideas, to ask if modernity in either art or life is precisely what it makes itself out to be. Modernity is a trope, an idea that a group of thinkers made up to try to understand what life meant in an age in which the machines had finally won, in which not only the heavy lifting would be done by mechanical devices but also the thinking would be done by computers and the art would be made by machines with no eyes. Work and freedom mean very different things in a world of machines, and modernity is above all else an attempt to come to an understanding of the relationship between the human body and the machine."
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Michelangelo, 2002.
A study of the humanistic side of Michelangelo's art.
1,480 words (approx. 5.9 pages), 4 sources, MLA, AU$ 71.95
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Abstract
A paper which introduces and discusses how Michelangelo takes the humanistic and natural beauty from the Greeks concerning perfect physical humans and nudity and transforms his work for the Christian era. A brief overview of Michelangelo's childhood is also included.
From the Paper
"Consistently, his work began to show more and more influences from more ancient works. While he was often ridiculed because he was not following current trends, he persisted in his own views. He memorized certain classic poses, and used them for most of his works. The David is an example of one of his works that uses a classic pose to make it seem more strong and powerful. "He no longer considered the work of art as an imitation of visible reality, nor as the image of a dream world, nor as a means of arriving at knowledge of the universe, but as an embodiment of the very essence of human life and destiny. In this vision of the cosmic law of life in man, he relates himself to the wisdom of ancient Italy" (De Tolnay 64)."
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Greek Art and Sculpture, 2002.
An analysis of how nudity was a fact of ancient Greek daily life and how the art--statues-- reflected the Greeks? acceptance of it.
1,828 words (approx. 7.3 pages), 20 sources, MLA, AU$ 85.95
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Abstract
The following paper examines how all Greek sports, even the Olympic events, were performed in the nude. This paper examines how nudity in and of itself wasn?t the purpose of the art, but was used to best represent the images. The writer explores how women were banned from the Olympics because it was held in a sacred area. This paper also explores how the the nudity in sports gave sculptors a reason to study the human body more closely, and its proportion and movements. The writer traces back early attempts to capture the human form and examines how over time, nude sculptures became smoother and more realistic, while still adhering to the quest for the ideal.
From the Paper
"Even though sculptors eventually worked out the proportions in their work. the Greeks were not known for experimentation with style. Once they found an image that was pleasing, they tended to stick with it. The typical male statue, the Kouros style, had a very distinct pattern that was followed: ?The figure stands erect and strictly frontal with his left leg advanced, his arms tense at his sides with fists clenched. Details are represented with strength and simplicity. The eyes are big and almond-shaped, the ears large and so carved as to form a kind of decorative adjunct; the essential parts of the body are clearly defined and subject to an established canon of proportions, while muscles and bones form surface patterns on the marble. The work already has those qualities of grandeur and proportion which characterize all the best Greek sculpture throughout its history.? (Carver) The male form was the highest level of ideal beauty."
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Michelangelo's Architecture, 2002.
An essay written in letter form commissioning Michelangelo to build a house.
990 words (approx. 4.0 pages), 6 sources, AU$ 52.95
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Abstract
By creatively setting this paper out in letter form written to Michelangelo by an admiring potential customer commissioning him to build a house, the author of the paper examines the great artist's work and rich and successful career in post-Renaissance Italy.
From the Paper
"Your architectural style is unique in its own way. You have developed a style for others to follow. Each one of your works marks the inventiveness and unique signature style. You are known as the innovator of the 16th century in the architectural arena. You dare to deter from the Renaissance style of work. And have invented a work direction that deviates from the classical design theory. You have become an inspiration for the post-Renaissance architects. You have marked the beginning of the Baroque and the fall of the Renaissance style of work. Your work is the foundation of a new era and new horizon of when a plan has diverse parts, all those parts a true artistic inspirational work. Then also you modestly say that ?I am not an architect.? "
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The Guggenheim and Metropolitan Museums of Art, 2002.
A discussion of the Guggenheim and the Met and their success in stimulating and educating museum visitors.
1,395 words (approx. 5.6 pages), 4 sources, MLA, AU$ 68.95
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Abstract
This paper discusses the Guggenheim and Metropolitan Museums of Art, describing and contrasting the two museums in the context of bringing art, culture and architecture to the public. Modern thought regarding museum architecture is also discussed. It also discusses the history of art museums in the past century. It examines the level of interaction between the art admirer and the art itself in several museums and accordingly judges their success.
From the Paper
"Art museums have been through multiple metamorphoses in the last 100-plus years, from ornate Victorian cathedrals stuffed with artifacts, to flexible modernist boxes and vast salvaged industrial buildings. A museum building is often thought of as monumental sculpture, and is itself potentially the most important work in an institution's collection. How paintings and sculpture actually fit into it is, typically somewhat controversial. Museum founders realize that the public can best appreciate and become engaged in art when the level of interaction and personal participation is high. Mimi Gaudieri, the executive director of the Association of Art Museum Directors, and other enthusiasts among professionals in the field insist that there's no conflict between a museum's mission and high-profile architecture. "On the contrary, an exciting building lends itself to art," Gaudieri says. "It's part of the growth of the whole museum field. Years ago we were just sleepy institutions with no profile, and all of a sudden things have changed. Museums have woken up. We are much more aware of the community and are working more closely with it." Current museums incorporate inviting lobbies, lecture halls, libraries, cafes and shops, recognizing that while they display art, they also must draw the interest of the public (and potential donors) with a holistic appeal (Lloyd 2001)."
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Aaron Douglas and the Harlem Renaissance, 2002.
A study of the 1920s time period named the Harlem Renaissance and African-American artist, Aaron Douglas' role.
820 words (approx. 3.3 pages), 3 sources, MLA, AU$ 43.95
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Abstract
The paper studies the Harlem Renaissance - the term given to a period in American history where a new focus on the African-American experience emerged. The writer of this paper shows how it was a time when African-American artists began to express their culture and at this time in history there came a new focus on the African-American artist and African-American Art. The writer introduces artist, Aaron Douglas, as someone who emerged from this time period and went on to create works which reflected the Harlem Renaissance. Some of Douglas' works are also discussed.
From the Paper
"From this we see how Douglas?s paintings represented modern life for African-Americans. Rather than their African life, his paintings reflect the life of African-Americans within America. While the subject of the works was modern, Douglas also incorporated his African culture by his focus on African forms, with his style being described as ?flat with hard edges and repetitive designs... heavily influenced by African sculptures, jazz music, dance and geometric forms? (Schomburg Center)."
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Walker Evans, 2002.
An analysis of the documentary photography of Walker Evans.
1,225 words (approx. 4.9 pages), 3 sources, MLA, AU$ 60.95
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Abstract
The documentary photography of photographer Walker Evans is critically examined referring specifically to at least four images, in relation to the humanist approach to photography. The paper also includes a discussion of arguments for and against such an approach. Photos analyzed are "Women Stooped Over in Field", "St Mathew's School, Alabama"; "Vicksburg, Mississippi" and "Hitch Hikers".
From the Paper
"Evans was born in St. Louis, Missouri in 1903. His parents were well off, and very conservative. He first studied literature, and lived in Paris for a year studying to be a writer. He first began taking photographs in 1928, with a small hand held, roll film camera. He worked as a broker on Wall Street until the Crash of 1929, then ?came to prominence during the Great Depression photographing for the Farm Security Administration, where in three years he produced his best known and most enduring work? (Kingston). Evans died in 1975 in New Haven, Connecticut."
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Rembrandt van Rijn, 2002.
A look at the life and works of Rembrandt van Rijn and what made him one of the most famous Dutch artists.
2,540 words (approx. 10.2 pages), 3 sources, MLA, AU$ 112.95
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Abstract
After providing a brief overview of his life, this paper examines five works that demonstrate something of the range of his extraordinary talent and illuminate his almost preternatural ability to depict the condition of the human heart and soul ? whether his own in the many self-portraits he created or in other in the series of studies that made him one of the most popular portrait artists of Amsterdam in his own time.
From the Paper
"Rembrandt himself would no doubt have been very pleased to have found out how dominant his own reputation has remained, for he was not an overly shy or modest artist. His life was in fact (especially when he was younger) defined in large measure by his ambition. He wished to be an artist whose work would in time come to rival that of other great Dutch artists such as Peter Paul Rubens. He wished not only to be a fine artist but also a famous one, and while he of course succeeded in achieving the first during his lifetime he in many ways failed to achieve the second. For while he was in demand for many years as a portrait-painter, by the end of his life he had lost many of his former patrons."
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Executive Summary of Indianapolis Art Center, 2002.
A review of the overall organizational structure of the Indianapolis Art Center museum to ensure it best reaches its main mission which is ?to engage, enlighten and enhance our communities through art education, participation and observation?
5,065 words (approx. 20.3 pages), 0 sources, AU$ 186.95
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Abstract
This paper seeks to illustrate the less conventional functions of the Indianapolis Art Center, in terms of its outreach activities designed to broaden its audience. It analyzes how well the museum is run in terms of staff, administration, use of financial resources and what recommendations can be made for future improvement.
From the Paper
The primary recommendation that shall be made for improving the overall quality of the museum?s exhibitions and presentations is a plan that will allow the museum to specialize and focus in a much more concentrated way. This will be accomplished more easily if curators can be hired either on a permanent or project basis. This applies especially to the acquisition of works for its permanent collection as well as to other aspects of its programming, such as lecture series and classes.
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"Art and Architecture from Renaissance Milan", 2001.
The paper discusses Evelyn Welch?s illustration of the history of art and architecture during the rule of the two dynasties, the Visconti and Sforza, in her book, "Art and Authority in Renaissance Milan."
1,560 words (approx. 6.2 pages), 0 sources, AU$ 75.95
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Abstract
This paper examines the tensions and arrangements between the city government and the court in Evelyn Welch?s "Art and Authority in Renaissance Milan." Images are used to legitimize the authority of the dukes as well as the details of the multitude of problems that occurred during the constructions of the monumental cathedral of Santa Maria Maggiore, the Ospedale Maggiore, and the Castello di Porta Giovia along with the grievances that the artists and architects had with the Milanese court and government.
From the Paper
"In the first chapter, Welch discusses the images that were used to claim authority in Milan. Unlike the King of France, the signori of Milan in the fourteenth and fifteenth-century could not declare their authority as God-given. The Milan rulers, from the first duke (Gian Galeazzo Visconti) to the last (Ludovico Maria Sforza), used various sources of confirmation of their position from distant papal or imperial investitures. But the most effective means of imposing authority over the Milanese citizens and residents of the surrounding countryside was to produce countless images that asserted ducal ownership of buildings, works of art, and people. Some of these images took the form of family arms, portraits, and color codes. Bridges and towers were branded with a coat of arms when absorbed under new dominions. Some signori asserted their authority with equestrian portraits. Images were represented differently in art and literature depending on the audience and the time. Art was used as a collaborator for political control (which was not uncommon). There was a constant transition in leadership. Two dynasties controlled Milan - the Visconti and the Sforza. The Viscontis, native Milanese, were based in the surrounding countryside. The Sforzas, originally mercenary soldiers, were from the Romagna and acquired their rights over Milan through a marriage to the daughter of the last Visconti duke. In art, historical armed conflict was disguised. Successive rulers changed ancestral histories. A leader that became powerful through tyranny was transformed as reverent. But regardless of even great court commissions, the images of authority were only effective if their audiences were predisposed to accept the court?s authority. There was a reciprocal relationship between the art and the audience. "
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"The Intellectual Life of the Early Renaissance Artist", 2002.
The following paper examines Francis Ames-Lewis? book, "The Intellectual Life of the Early Renaissance Artist" (2000).
1,640 words (approx. 6.6 pages), 0 sources, AU$ 78.95
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Abstract
This paper examines how early Renaissance artists, such as Raphael, Leonardo da Vinci and Mantegna, among others, successfully gained intellectual recognition and respect, and achieved acceptance of their artistic work in the same way as other liberal arts with reference to Francis Ames-Lewis' book, "The Intellectual Life of the Early Renaissance Artist" (2000).
From the Paper
?Ames-Lewis explores the methods and attitudes that were adopted and promoted in order to further the recognition of the artist as a creative genius who possesses and develops a unique identity and individuality.In his beautifully illustrated volume, Ames-Lewis investigates the gradual increase in the status of the artist, both from the personal efforts of the individual artists, who strongly believed that they merited a status greater than that of a craftsmen, and also from the changing perception of the society in which they lived and worked. He examines the cultural ethos of the time, which placed an increasing importance and prestige on those who were perceived as being ?learned?, thus concentrating the artists? desire to develop, and exhibit, their intellectual prowess, in addition to their recognized artistic talents.?
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Van Gogh and Tissot, 2001.
The comparison of the styles of two paintings - Vincent Van Gogh's "Woman with a Spade as Seen from Behind" and "'The Shop Girl" by Jacques-Joseph Tissot.
1,600 words (approx. 6.4 pages), 5 sources, MLA, AU$ 76.95
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Abstract
This paper compares the differing styles of these two artists. Both painting were of women but the writer shows how Van Gogh's is of a woman working in the field while Tissot's painting depicts elegant women in a shop. Even though they were painted in similar time frames, the latter painting is of a modern culture greatly ignored by Van Gogh in his works.
From the Paper
"Vincent Van Gogh is a master artist whose works have fascinated the society for decades. The manner in which he portrays his subjects and the deliberation of each stroke gives a life like result that is a pleasure to see. Vincent Van Gogh went through life searching for the elusive perfection that he could capture on canvas. Though many would say that his works are itself a perfect presentation, Van Gogh proved to be his own biggest critic. He stated in one his Letter 257 c. January 3, 1883, "By working hard, old man, I hope to make something good one day. I haven't yet, but I am pursuing it and fighting for it..." thus were immortalizing his own life. We could have aptly used these words to write his eulogy for the search for something better is what he portrays on canvas."
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Michelangelo's Masterpiece "Pieta", 2001.
This paper looks at the artistic qualities of this work.
1,500 words (approx. 6.0 pages), 9 sources, MLA, AU$ 72.95
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Abstract
This paper presents a detailed discussion about the four representations of the Pieta. The writer of this paper uses words to describe the artistic differences in the representations. The writer works to not only uncover the obvious structural differences but to ascertain what the differences in their meanings may be as well.
From the Paper
"Michelangelo has always been viewed as one of the most talented artists in history. His works have sustained the test of time and today are still accepted as some of the most telling and touching pieces of art that patrons have available to them. One of his most famous works is the Pieta. The Pieta has four renowned versions of its portrayal and each one has similarities as well as differences to the other three. As the different styles and pieces are examined it is easy to see why Michelangelo has held his place as one of the most tortured yet talented artists of all time."
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Richard Avedon- the Photographer, 2001.
This paper analyzes the life and works of the photographer Richard Avedon.
2,230 words (approx. 8.9 pages), 14 sources, APA, AU$ 101.95
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Abstract
This paper studies Richard Avedon and his ability to create a series of images of women as well as men that seemed to catch something of their inner lives, making each of his subjects unique in looks and personality. It includes several of his pictures and details the expression and meaning of each of them. Also, it gives an historical overview of his life and how he exemplified the 1950's era. It compares his work to the work of several photographers such as Weston and Steichen.
From the Paper
"The work of photographer Richard Avedon during this Ozzie-and-Harriet decade thus stands out for his ability to capture a sense of unique personality in each of his subjects. Despite the fact that during the 1950s he was working as a photographer for fashion magazines like ?Harper?s Bazaar? ? hardly an avant-garde publication or one dedicated to stripping society of its sexist images of women ? he managed to create all throughout this decade a series of images of women as well as men that seemed at least to catch something of their inner lives, a good deal of what made each one of these subjects unique. The fact that he was able to wrap these substantive images in a style that was coolly and elegantly minimalist ensured his success not only in this decade but in the years since."
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