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Gregory Crewdson, 2008.
An analysis of the style and work of photographer Gregory Crewdson.
1,337 words (approx. 5.3 pages), 3 sources, MLA, AU$ 65.95
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Abstract
This paper discusses how Gregory Crewdson's work is planned and executed with perfection in mind and how what is revealed on paper is a moment of perfection that crosses with subjects in an imperfect world. It looks at how his photographs don't always make sense, and neither does life and how the mystery of a Crewdson's photograph can be haunting if a personal connection can be made to the picture.
From the Paper
"A Crewdson photograph is made up of many components; some are small and hidden while some are so large that may not be noticed at first glance. One element that is in every photograph of Crewdson's and is always easily found in the frame is a person. More times than not it is a single person, but other times it will be a whole handful. Regardless of how many people are used they all have one common trait; they have the same blank stare on their faces. This emotionless portrait is difficult to read when just examining the characters faces. What is essential to consider is their body language, it is the best clue at deciphering each photo's story. For instance in plate number 7, a man and woman are getting ready for bed in the bedroom. Their faces say little, but their bodies say everything. "
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Michelangelo's "Pieta" and Bernini's "Saint Teresa", 2006.
An exploration of the similarities and differences in Michelangelo's "Pieta" and Bernini's "Ecstasy of Saint Teresa."
1,107 words (approx. 4.4 pages), 5 sources, MLA, AU$ 56.95
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Abstract
This paper compares one of the greatest works of renaissance art, Michelangelo's "Pieta," with a superb example of the complexity of baroque art, Bernini's "Saint Teresa in Ecstasy." The writer explains the Neo-Platonist and humanist influences on Michelangelo and his "Pieta," and describes the sculpture in its moving simplicity in detail. The writer then explains how Bernini's statue combines the baroque emotion with counter-reformation mysticism. The paper concludes that both Michelangelo and Bernini were masters of their craft, bringing life to cold marble and bronze, with different styles of expressing their veneration for God.
From the Paper
"However, apart from earlier religious works, Michelangelo's sculpture had an unmistakable air of humanism. A recurring theme in renaissance art, humanism was fueled by a renewed interest in the individual, under the idea that humanity is a miracle, and you glorified god by portraying his creations in a beautiful manner. This led to much more realistic depictions of the world, the figures of medieval art becoming more three-dimensional, and less homogeneous. The Pieta is an excellent example of this new way of viewing the world, as it was wholly life-sized, and made to be viewed in the round, all sides available to be seen."
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"Out of the Inkwell", 2006.
An examination of the relationship between Koko the Clown and his creator, Max Fleisher in "Out of the Inkwell."
2,910 words (approx. 11.6 pages), 5 sources, MLA, AU$ 126.95
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Abstract
This paper discusses the "Out of the Inkwell" series (1919-1921) by the Fleischer brothers, which was developed in order to demonstrate Max Fleischer's invention of the rotoscope. The paper specifically looks at the oftentimes puzzling relationship between the protagonist of the shorts, Koko the Clown, and his creator, Max Fleischer, who, more often than not, subjects Koko to strange and often painful situations.
From the Paper
"This finale presents a puzzling situation, whose hand comes from off-screen to interject in the life of the live-action creator of this world? This places not only Koko but Max as well as the creations of a more powerful orchestrator than even Max the animator. The mysterious hand could possibly represent Max Fleischer the filmmaker, instead of Max, Koko's animator in the shorts, but the conclusion is certainly left unclear. Still, it is moments like these that cement the Out of the Inkwell series in my mind. Unlike the later Disney cartoons, which seemed to exist only as exercises in progressing realistic cartooning, the Inkwell shorts are imaginative and funny, not restricted to laws of reality or logic. The series delights in showcasing the line between the real world and the animated world, how an animated clown can jump all over it."
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Orestes Pursued by the Furies, 2008.
An analysis of the painting "Orestes Pursued by the Furies" by William-Adolphe Bouguereau.
1,279 words (approx. 5.1 pages), 0 sources, AU$ 63.95
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Abstract
This paper describes and analyzes William-Adolphe Bouguereau's painting entitled "Orestes Pursued by the Furies," after relating the Orestes myth upon which the painting is based. The author describes the painting's complex composition and how its actual and implied lines continuously redirect the observer's attention to different parts of the drama being performed on the canvas. The author analyzes the use of color and tone and their effect in the painting. The author concludes that the fact that both the canvas and figures are larger than life may reflect the painter's conviction of the importance of the moral lessons depicted in the painting.
From the Paper
"Bouguereau balanced this painting, creating unity as well as discord via many methods including the use of several perceived triangles. Traditionally, the main character would be placed at the apex of the triangle thus creating a hierarchy of people within the painting. In this painting there is an inverted triangle with Clytemnestra and the three Furies creating the long line of the triangle and the lower point of Orestes' white robe creating the apex. There may be many reasons for the inverted triangle, however, it makes sense that Orestes would be the apex as he is the center of the story, the inversion of the triangle creates a discord in the theme of the painting. A triangle created by Orestes' legs on the ground serves to visually stabilize the painting as is traditional in classical painting."
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The Minoan Octopus Vase, 2008.
A detailed analysis and discussion of the Octopus Vase from Palaikastro, Crete.
1,957 words (approx. 7.8 pages), 5 sources, MLA, AU$ 91.95
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Abstract
This paper presents a formal art analysis and critique of the Octopus Vase as well as a discussion of the historical and cultural context of the art work. The author describes the vase in great detail and explains how the artist used intangible shapes, unbalanced lines, and unrefined contours to bring the octopus to life. The author discusses the historical background and artistic tradition behind the vase and concludes that it is a superb example of the Minoan culture and a beautiful and unique work of art in its drama, space, composition, motion, line, and style.
Outline:
Introduction
The Image
Formal Analysis
Style
Form
Space
Line
Composition
Motion
Pros of Material
Cons of Material
Pros of Technique
Cons of Technique
Drama
Historical and Cultural Context
Critique of the Artwork
Conclusion
From the Paper
"The Minoan Octopus vase is a great example of art influenced by the Aegean culture. The vase is thought to have been made around 1500-1450 BCE of the Late Minoan IB phase. The influence of Minoan culture was prevalent throughout the island of Crete. Crete was the hub of business for wine and oils which were exported in pottery vases in exchange for food crops from the mainland. Because of Crete's position in the heart of the Mediterranean crops and plants were scarce; this is most likely the use ordained for the Octopus Vase."
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Tattoo Analysis in Anthropology, 2008.
This paper studies tattoo art and looks at how it relates to modern culture.
900 words (approx. 3.6 pages), 2 sources, APA, AU$ 46.95
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Abstract
In this article, the writer discusses a study that was conducted to understand tattoo art in modern culture. The writer notes that in realizing through an interview with a host, how the tattoo plays a part in the study of modern body art, one can see how this creates an impression of art in our culture. The writer discusses that by examining a 'Gaelic' tattoo design, one can learn how this interviewee responded to certain questions of cultural awareness of the times and shows how culture is passed on this way.
From the Paper
"By this information, we can see how this tattoo can play a part in the way that we can recreate the past, as this young man in his tattoo. By seeing the traditions of ancient Celtic art being created in this tattoo, the description of the tattoo not only can tell us about the past, but can see how this past stays alive through family tradition, and the mystic of the ancient Irish in his mind.
"The symbolic value of this tattoo is the Celtic Knot, which is itself a symbol of unity in the Irish Tradition, but makes it clear that it is a 'vegetative symbol, and the life line is the natural connection through the Irish to each other. By understanding this, we can learn about the natural symbol that plays a part in the color, as well as the interconnecting branches, which are wrapped around the interviewee's arm when he was being tattooed. In this green, we can see nature as a symbol for eternal life, but also in the circle around the arm, we can this further created in light of the Nature themes abound in it."
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Artwork Analysis, 2007.
An analysis of two paintings: "Little Falls," by Beatrice Wose Smith, and "Ghetto Documents Drawing," by Miriam Beerman.
1,201 words (approx. 4.8 pages), 0 sources, AU$ 60.95
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Abstract
This paper discusses two paintings in the Everson Museum of Art in Syracuse, NY: Beatrice Wose Smith's painting "Little Falls," an oil painting of the town of that name in upstate New York, and Miriam Beerman's "Ghetto Documents Drawing," of a Holocaust victim. The author describes the lines, structure and color of both paintings and their emotional impact on the author as well as on two other visitors to the museum. The author also explains why both should be museum pieces, in the author's opinion. Images of the paintings discussed are included.
From the Paper
"I believe this painting has intrinsic value because of the fact that it obviously meant something to the artist because she came from the area and it also is a beautiful piece of art. This painting in my opinion does belong in a museum because of the artist's talent and its amazing beauty and also because it is a piece of Central New York history. I think this painting shows today's society that all they have to do is stop and look around because everyday life is art."
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What is Poetry?, 2006.
The paper looks at how Samuel Taylor Coleridge in his "Philosophic Definitons of a Poem and Poetry" defines poetry.
736 words (approx. 2.9 pages), 1 source, MLA, AU$ 38.95
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Abstract
The paper relates that Samuel Taylor Coleridge's approach to defining poetry is a combination of an examination of the purpose of poetry as well as the humanistic qualities of the poet. The paper discusses Coleridge's idea that the conglomeration of the human condition is necessary in order to manifest poetry. The paper explains this to mean that the full force of the heart and soul is necessary in order to create true art.
From the Paper
"Throughout the ages, philosophers have attempted to answer the question, what is poetry. Plato, Aristotle and Longinus contributed fine essays on this topic. During the Romantic era, a redefinition of the art of poet occurred, mandating a re-evaluation of what poetry is. The Romanic author and poet, Samuel Taylor Coleridge endeavors to answer this question in his essay, Philosophic Definitons of a Poem and Poetry. Coleridge's approach is a combination of an examination of the purpose of poetry as well as the humanistic qualities of the poet. Coleridge examines what poetry is, what a poet is and what the cumulative result of answering these two questions."
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Contemporary Art and Consumption, 2007.
An overview of the theme of consumption in art today with a focus on the work of Michael Ray Charles.
1,167 words (approx. 4.7 pages), 4 sources, MLA, AU$ 59.95
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Abstract
This paper discusses how the theme of consumption in art today takes many forms, from simple commentary, to celebration, to ridicule and how the use of appropriated techniques and images from a society filled with advertising at every turn within the context of fine art marks a strong trend in late 20th century and current art movements. It looks at how "consumption" is an undeniable theme in modern Western society and in particular, discusses how Michael Ray Charles is simply one of many artists today who successfully navigates the questions of not only the direction such a culture is leading our society, but also his place in that world.
From the Paper
"Those that choose to define Western society by the trend of consumption and comment upon that society must see this trend as either beneficial, a sign of progress, or see it as superficial and holding people back from more "real" experiences. Charles chooses to criticize this world for the stereotypes it upholds in the name of advertising and sales. His works comment on society's perpetuation of stereotypes of African American and the ridiculousness of a nation that can at the same time both shun and accept its minorities' cultures in an attempt to simply appeal to as many consumers as possible. "
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Marcel Duchamp, 2007.
A look at the life and works of Marcel Duchamp and his contribution to the evolution of contemporary art.
1,116 words (approx. 4.5 pages), 5 sources, MLA, AU$ 56.95
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Abstract
Marcel Duchamp, the conceptual artist of the first half of the twentieth century, sparked heated debates during his practices in the art world and had a significant impact on how we view modern art today. This paper examines how Duchamp's evolution as an artist began with roots in traditional methods of paint and Greenberg-sanctioned expression and progressed to satire of the conventional art world, practices, and ways of viewing art. It discusses how the works of Marcel Duchamp mark an important period in art history of dramatic change and movements that, when understood today in their context in history, can be seen as responsible for paving the way for the contemporary art of today.
From the Paper
"One of Duchamp's most ambitious works was his mixed media The Bride Stripped Bare by Her Bachelors, Even (also known as The Large Glass), depicting the "bride" in the upper panel with nine "bachelors" looking on from below. Duchamp accompanied the work with his extensive set of working notes about the piece (called the Green Box), the sexuality of the mechanical structures depicted to represent human beings, and the imaginative physics that govern the piece. The piece captures the idea of the mechanical as it depicts a frozen scene being acted out by the "figures" in both panes. The celebration of movement as art is continued in Duchamp's amusement by cracks occurring the work when it was accidentally broken in 1927. "
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Fernand Leger, 2004.
A discussion of the relationship between the human being and machine
in the paintings of Fernand Leger.
2,195 words (approx. 8.8 pages), 10 sources, MLA, AU$ 100.95
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Abstract
This paper examines how, as an artist, Fernand Leger focused on the relationship between the human being and the machines that manufactured objects in use in everyday life. In particular, the paper looks at how, in Leger's paintings, the machine is seen as a symbol and a praise of the modern life that man is living at the start of the twentieth century. The paper then looks at the way man himself is portrayed as a machine, that is, how he is an integral part of an exciting new mechanical environment. Ultimately, in exploring the Bergsonian notion of 'simultaneity,' the paper defines the machine as an account of the human experience in his mechanical environment.
From the Paper
"The years after 1917 saw a steady flow of major masterpieces: various versions of his Elements Mecaniques, Les Disques of 1918, Les Disques dans la Ville, of 1920-21, the Tugboat series, and most notably La Ville of 1919 itself, the archetypal image of the modern metropolis that we mentioned earlier. Leger adapted to these paintings a composition which relied on a surface or ganised in terms of predominantly upright, vertical, (anthropomorphic?) areas. Mechanical, tubu lar forms often appear, like great shafts of metal. The jazz-like rhythms of the composition, the bright, raw colours, the vitality of the forms, all these features contribute towards the dynamism of the paintings, "so that we seem to share, palpably, in the painting's beat." Some areas also become cells in space, in which we glimpse the life of the city's inhabitants. "
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Analytical and Synthetic Cubism, 2004.
A discussion on the terms analytical Cubism and synthetic Cubism with reference to the work of Pablo Picasso and Georges Braque.
2,117 words (approx. 8.5 pages), 8 sources, MLA, AU$ 97.95
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Abstract
This paper explains that Cubism is the process of passage from a bar-baric dis-symmetry to an advanced abstract geometry. The paper then looks at how the the term analytical Cubism refers to Picasso and Braque's work of 1910 through early 1912 and how the term synthetic Cubism refers to their work of later 1912 through 1914. It also examines the objective contributions of Picasso and Braque to the development of modern art, particularly towards abstraction.
From the Paper
"By 1909, Picasso, working in close collaboration with Georges Braque, had invented Cubism, a kind of painting more sculptural than any before, since it presented simultaneously more than one view of the subject. Indeed, Picasso had definitely renounced the traditional chia roscuro - the technique of evoking three-dimensional form by reproducing the way that incident light plays across it, producing a sequence of highlights and shadows. Picasso apparently considered chiaroscuro a "dishonest" way of representing three-dimensional form; he therefore turned to faceting as a means of describing three-dimensional form without using conventional shading. After the dematerialization of form in Impressionism, and the flattening of form in Post-Impres sionism, this restoration of a sense of sculptural solidity (without a return to conventional real ism) was a major achievement. "
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Cindy Sherman, 2003.
An exploration of the the use of photography and its ability to portray realism in contemporary figure art with a focus on the work of Cindy Sherman.
1,808 words (approx. 7.2 pages), 4 sources, MLA, AU$ 85.95
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Abstract
This paper examines how American artist Cindy Sherman, who began to work on the famous series "Untitled Film Stills" at the end of 1977, stages mediated images of women through shot, costume, pose and situation, embodying a vast number of characters herself. It looks at how, through the medium of photography Sherman both captures realistic images and transforms herself according to her wishes. It also discusses, with reference to Sherman's work, whether photography is used as an artifice in representing the human figure and how, ultimately can photography can portray realism.
From the Paper
"The work by Cindy Sherman is, above all, based on different artistic forms; among them is film, theatre, and painting, especially portraits. When we first look at Untitled Film Stills, we are con fronted with some simulations of scenes from Hollywood. Just as with any film still, performance is at the heart of the images. Arthur Danto, indeed, attributes their success as being "simultaneously and inseparately photographs and performances." Sherman's photographs are not only photographic records of performances but, inversely, "performative accounts of filmic images." For instance, in Untitled #21 in which a young woman is seen against huge urban buildings, the city is a part of a film scenery, which is there to echo the woman's expression of urban attitude. The outside world similarly establishes for Sherman's characters a unity of place and time and an ambience which defines their individual role. However, these characters, which all come from old B movies and film noir, are pre sented more as types rather than as individuals. "
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"In Defence of Migrants", 2003.
A critical interpretation of the painting "In Defence of Migrants," by the Scottish artist Steven Campbell.
1,758 words (approx. 7.0 pages), 5 sources, APA, AU$ 82.95
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Abstract
The paper discusses the emergence of a new generation of Glasgow painters, known under the name of "New Glasgow Boys." The paper speaks of one of these artists, Steven Campbell and his painting "In Defence of Migrants," The paper comments on how the human figure is presented, first within a background of confusion and uncertainty, then in a direct and forceful expression of emotion as well as an intense theatricality, and finally in relationship with nature itself, a relationship which defines his own human condition.
From the Paper
"The first and most obvious characteristic of Campbell's Painting on Defence of Migrants is its formal density which demonstrates, alongside with an intensity of creative imagination, a great sense of confusion. The artist's extravert approach to figure painting results in a large number of details. We, as spectators, are confronted with a multiplicity of frames which successively surround the picture and lead our eye to the moon, the focus point in terms of the organisation of space. On the left, there are also trees and rocks on which the pale-skinned 'migrants' sit. On the extreme right, a strange man with his head lit up, as if ecstatic, and a hunter brandishing a rifle, ready to shoot. Going further 'inside' the picture, we see, on the left, a multitude of people walking, apparently migrating like birds, in the shade of the characters who sit in the foreground, but somehow connected to them. Looking in the right-hand side, we can behold, once more, conifers and rocks and a waterfall, which salmons are swimming up, going down the valley and leading our eye further into the picture. In the background, we see mountains, the shadows of which stand out against the all too dark and cloudy sky. However, despite the large number of frames in the picture, one thing comes as a unifier and gives the viewer the feeling of space, which is the birds, of all species, from wild ducks to nocturnal birds of prey. The latter, alongside the salmons swimming up the waterfall, the dog and the shrews in the bottom right-hand corner, gives us a powerful impression of the presence of natural fauna. Thus, all these closely-worked surfaces and almost impenetrable tangle of forms may belong to reality. Yet, the overall sense of density and confusion along with the almost exaggerated symmetry of the composition--the two trees on the foreground, the incline of the outline of the rocks, etc.--develop into an anachronistic world which is both strange and familiar. On the other hand, the figures on the foreground, which just look like characters from a novel, even a fairy tale, are subjected to the arbitrary disposition of the surreal. Indeed, there appear, in the sky and the clouds, the distinct figures of hunters... The universe we are confronted to belongs to neither fact nor fiction and makes the frame for the play which is on."
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Kabuki: Japanese Theater, 2004.
This paper discusses Kabuki, one art form of Japanese Theater established for the masses.
1,230 words (approx. 4.9 pages), 5 sources, MLA, AU$ 60.95
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Abstract
This paper discusses the form of Asian art called Kabuki, a stage performance style art. Before the age of recording devices, this art could only be experienced first hand, and every piece was different, even though it may be performed over and over again. Through this paper, one takes a look at Kabuki from it origins to its existence in modern day Japan, as well as its influence on Western theatre. The paper also includes many pictures of Kabuki theater actors and performances.
From the Paper
"Kabuki today has even harder competition than puppets and government oppression. Kabuki has survived the loss of its finest actors in WWII and also made it through censorship shortly after the war. But today it faces modern forms of theatrical entertainment in movies and television. Kabuki still holds root though as being a part of japans heritage, and still finds a place in the hearts of the older population. A lot of the key factors, which make the kabuki so great, are less known now, and because it is more of the old ways younger people are not as open to the kabuki. It is said that kabuki is stabilized in a near perfect state, and for that reason it will continue to stand the test of time and keeps its place in japans heritage. Despite the odds against the kabuki, popular actors continue to bring in audiences including a growing number of young people."
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Understanding Renaissance, 2007.
An overview of the Renaissance period and its implications for humanity.
1,378 words (approx. 5.5 pages), 4 sources, MLA, AU$ 68.95
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Abstract
This paper provides an explanation for Renaissance as a word and as an age, illustrating with various examples and images how the rebirth of humanity occurred after the dogmatism and the oppression of the Middle Ages.
From the Paper
"What is Renaissance as a word and as an age? Renaissance is the French word for "rebirth" (Civilization in the West, p. 324). As an age, it's the rebirth of humanity after the dogmatism and the opression of the Middle Ages. Arts, ideas, sciences which have been paused under the influence of the Church are reborn from its ashes in the Classical Age and they are all united within the ideals of humanity and self-awareness. Despite the millions that are lost because of Black Death in the period, new technics were developed in every form of art, new ideas were put forward and a new approach towards religion emerged. Renaissance can be described as a period of diverge from dogmatism and a step towards questioning and self-awareness."
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