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Art in History, 2008.
This paper examines paintings from the Renaissance, Rococo and Impressionist periods.
1,939 words (approx. 7.8 pages), 2 sources, APA, AU$ 89.95
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Abstract
The paper analyzes the composition and technique of a painting from each of the most notable artistic periods in history; the Renaissance, Rococo and Impressionist periods. The paper develops an understanding of the technical and aesthetic value of these paintings as well as of the respective art movements as a whole. The paper concludes with a personal opinion that impressionism evokes the greatest visual and emotional appeal. There are color images of the three paintings that are examined in the paper.
Outline:
Introduction
Renaissance
Rococo
Impressionism
Conclusion
From the Paper
"Renaissance was a reaction to the Middle Ages and serve as the foundation for the subsequent Baroque period in Europe. Its etymological meaning is "rebirth" of classical antiquity, pertaining to the revival of arts and sciences after it was diminished because of the emphasis on religion. However, it should be noted the majority of the art work where commissioned either for the Church or by supporters of it (Gombrich, 1995). The period also marked the significance developments in artistic technique which included the development of linear perspective, spatial composition and definition of the proportions for human form. The most notable artist of the period includes Leonardo Da Vinci, Michelangelo, Raphael as well as Boticelli who while was briefly eclipsed by the first three artists rose to contemporary regard. However, the Da Vinci, Michelangelo and Raphael have been more specifically associated as High Renaissance artists or for the latter Renaissance arts (Stokstad, 2004)."
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The Bastard Son of the Renaissance: Da Vinci, 2008.
An analysis of Da Vinci's opinions according to Julia Conway Bondanella and Mark Musa's "The Italian Renaissance Reader."
1,615 words (approx. 6.5 pages), 0 sources, MLA, AU$ 76.95
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Abstract
This paper discusses the four basic new ideas, values and opinions in the notebooks of Da Vinci, as analyzed in Julia Conway Bondanella and Mark Musa's "The Italian Renaissance Reader." The paper discusses the idea of intellectual elitism, the idea that painting is subtle and sculpture is crude, the idea of creation versus reproduction and the rejection of book learning and the emphasis and preference for observation and experience.
From the Paper
"The rejection of book learning and the emphasis and preference for observation and experience was an additional notion birthed in the period of the Renaissance. Da Vinci was not a university man, or a churchman. He highly valued experience and experimental behavior over any other type of learning. Da Vinci found that experience was far better and superior to any knowledge you could gain through institutions, such as schools and universities. He felt that learning from books, literary knowledge, was quite mediocre compared to experience. Experience and experiments were the ultimate learning tool for Da Vinci. The mere knowledge of text, without experience of what the literature spoke of was not the type of learning Da Vinci emphasized. "They will say that since I have no literary ability, I cannot properly express what I wish to deal with, but what they do not know is that my subjects are to be dealt with by experience rather than by words; and experience has always been the mistress of those who wrote well." Da Vinci knew that dealing with the subject itself was much better for the expanding of the mind and learning than merely reading about it, and thus greatly emphasized observation, experience, and experimentation."
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Magic Realism In Photography, 2008.
An analysis of how magic realism can be applied to the medium of photography.
2,127 words (approx. 8.5 pages), 7 sources, MLA, AU$ 97.95
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Abstract
This paper discusses the history of the definitions of magic realism. It specifically focuses on magic realism within photography and if the term can be applied to specific forms of photography. The paper discusses the medium of photography and how the writer uses this medium. It also looks briefly at digital photography, as well as black and white photography.
From the Paper
" It is very difficult to apply the term magic realism to photography of any kind; perhaps because it seems that every kind of photography may be capable of being magic realism. Since the meaning of the term has come to encompass so many definitions, there is an argument for many kinds of photographs to be considered as magic realist photographs. In my photography, I truly want to infuse the logical even "normal" world with something as illogical as a state of mind, an imagination. By still using a representational language to do so, I believe my photographs can fit into the Roh and Hartlaub description of magic realism as well as the Carpentier and Uslar-Pietri description. It is possible to use objectifiable or representational art rather than abstract art to express a part of human reality. It may seem that the objective world is "crystallized" by a photograph, but the crystalline structure of a real external situation is easily fractured by the tiniest suggestion of an internal or psychological reality; the latter is in fact strengthened by the cold and certain detail of the former."
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Clementina Hawarden and Julia Margaret Cameron, 2008.
An analysis of the photography of Clementina Hawarden and Julia Margaret Cameron.
1,190 words (approx. 4.8 pages), 2 sources, MLA, AU$ 59.95
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Abstract
This paper examines how, through technical style and the happenstance of amateur discovery, two Victorian women, Clementina Hawarden and Julia Margaret Cameron, placed their own expression into the portraits and tableaux of women. The paper specifically discusses how Cameron and Hawarden were equally, if unknowingly, seeking a release through photography and how, in projecting part of themselves, part of a fantastic desire onto reality, they found an outlet to express themselves.
From the Paper
"In Hawarden's photographic studies it is less clear what part of herself the artist has put into her images, what inner urge is being projected; there are no hints given by titles as the images are uncaptioned. There is a sparsity of surviving writings from her own hand; unlike Cameron, she did not make even a fragmentary autobiography. In an obituary for Hawarden, Oscar Rejlander commented that she "worked honestly, in a good, comprehensible style...She also was in her manner and conversation- fair, straightforward, nay manly, with a feminine grace." While her style may have been perceived as comprehensible, the meaning of her images seems less so. There is a sense of an obscure erotic drama which utilizes "vaguely melancholic poses that hint at familiar but not quite identifiable narratives" (Armstrong)."
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'All is Full of Love', 2008.
This paper discusses the music video 'All is Full of Love' by Chris Cunningham.
891 words (approx. 3.6 pages), 0 sources, MLA, AU$ 46.95
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Abstract
In this article, the writer notes that modernist art is characterized by its resistance to the metaphoric; its insistence on chains of association rather than strict metaphors prevents the audience from drawing a clear and precise meaning from the work. The writer points out that Chris Cunningham's "All is Full of Love" video operates on this ambiguous level. A quick run-through of the video seems to offer two paths of interpretation, one of hope and one of pessimism. But one must take both paths and examine the relationship of their ends. The writer maintains that in this way, the video is neither a celebration nor condemnation of modern love, but rather an exploration of what modern love means.
From the Paper
" The video begins with a tangled mass of wires seen only in flashes. Ascending the wires, the camera stops on an industrial, construction plane outlined in bright black and white. As the music starts, the two machines opposing the lying android move forward like record needles. When the needles finally make contact with the android, it opens its eyes and begins to sing. It's important to note that the beat used in the video is not the original mix from the album, but more mechanical, industrial and driving to match the visuals. Not only is the music industrial, but the video seems to have been directed by a machine. Moving with technical precision, merely observing and not speculating, the entire video presents a mechanical gaze. It's a video for, by, and about electronic beings."
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Politics and Art, 2007.
A discussion of the relationship between politics and art.
855 words (approx. 3.4 pages), 2 sources, MLA, AU$ 44.95
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Abstract
This paper examines how politics have long served as an impetus for artistic creation. The paper explains that artwork commonly reflects not only a personal vision, but a communal one, touching on themes that are recognizable to a large body of people. The paper further explains that while often seen as polar opposites, the political world and the art world are in fact not separate entities, but frequently intermingle. The paper looks at how, throughout the past several centuries, political establishments around the world have provided creative fuel for a wide array of art and how in recent years governments from various countries have begun extensively funding new museums and exhibitions, enabling art to reach the attention of the masses. The paper also suggests that while governments around the world have worked hard to censor art they deem politically dangerous or obscene, they have also worked towards funding projects by artists past and present. In conclusion, the paper shows that whether for good or evil, politics and art are parts of a whole, bouncing and reflecting off of each other.
From the Paper
"Politics, being the shared link between a mass of people, have naturally entered into the artistic repertoire of important and frequent themes. From Diego Rivera's "Man at the Crossroads," depicting Trotsky and Lenin in Rockefeller's commissioned all-American mural, to Dana Shutz's "Men's Retreat," showing Bush's cabinet walking blindfolded through the forest, artwork has often been about political subversion. Politically motivated artwork is not restricted to paintings either, there are literally millions of films, photos, plays, sculptures, drawings, music, and other forms of art that all deal with a need for political change.
With such radical work, however, comes censorship. The political world has innate control over the art world because of its power."
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Sculptor Auguste Rodin, 2008.
This paper describes the life and work of French artist Auguste Rodin, know especially for his sculpture.
2,635 words (approx. 10.5 pages), 7 sources, MLA, AU$ 116.95
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Abstract
This paper explains that Francois Auguste Rene Rodin, born in 1840, was first introduced to sculpture at the Petite Ecole but was not admitted to the prestigious Ecole des Beaux-Arts. The author points out that, unlike many of the famous artists, he didn't suffer from mental disorders, psychotic episodes or disturbing familial relationships. The paper relates that for most of the two decades after school, Rodin was a craftsman and ornamenter, producing decorative objects and architectural embellishments. The author states that, in 1864, Rodin submitted his first sculpture "The Man with the Broken Nose" to the Paris Salon, noting that it is this particular sculpture that Rodin's break from traditional classical sculpture begins to delineate. The author further explains that Rodin's unconventional approach emphasized texture and the emotional state of the subject;while classical sculptures were decorative, thematic and highly idealized the human form.
From the Paper
"Rodin's experience in Italy was so profound that he returned home to complete work on his first life size nude--"The Age of Bronze", inspired by Michelangelo's "Dying Slave". Rodin wanted to get his major work just right; Auguste Neyt explained the process, "I had to go through all kinds of poses every day in order to get the muscles right. Rodin did not want any of the muscles to be exaggerated, he wanted naturalness." In attempting to achieve the perfection he longed for, "he wanted to understand the fundamental difference between volume, plane and contour.""
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Critique of "The Marriage of Arnolfini", 2008.
A personal critique and discussion of the meaning behind Jan Van Eyck's 1434 painting, "The Marriage of Arnolfini."
793 words (approx. 3.2 pages), 0 sources, AU$ 41.95
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Abstract
This paper presents a personal critique of Jan Van Eyck's 1434 painting, "The Marriage of Arnolfini." It discusses the scene in the painting and the possible meanings behind it. It specifically focuses on the possibility that the painting acted as a witness to the marriage of the subjects. The writer describes why this painting specifically appeals to her.
From the Paper
"There is controversy whether the painting is considered a legal document recording Arnolfini's marriage, if it is just showing the betrothal of the couple, or if it is just a portrait. The artist wrote in calligraphy on the wall, just above the mirror, "Johannes de Eyck fuit hick 1434", which means Jan Van Eyck was here 1434. Of course the writing on the wall is quite an unusual place for the artist to leave his signature; I believe it alludes more towards the idea that he was a witness of the marriage. My theory, considering how artists in history had their subjects pose for them while painting, is that this was a portrait painted as a reenactment of their marriage as something to show guests how wealthy they were. It was common during that period for people to commission portraits, filled with symbolism alluding to wealth and happiness, to hang in their home."
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The Pre-Raphaelite Children of John Everett Millais, 2008.
A study of pre-Raphaelite children in John Everett Millais' paintings.
5,250 words (approx. 21.0 pages), 16 sources, MLA, AU$ 190.95
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Abstract
This paper analyzes the representation of children in John Everett Millais' paintings. It presents and analyzes 33 paintings, completed from 1840 to 1896, the year of the painter's death. Photographs of some of the paintings are included in the text. The paper points out that Millais was one of the founders of the Pre-Raphaelite Brotherhood (PRB), a group of English painters, poets, and critics. The paper attempts to demonstrate that the Pre-Raphaelitism of Millais is very particular in the sense that it uses the PRB's techniques, but concentrates on a subject that was not explored as extensively by the other artists of the Brotherhood, namely, children and childhood. The first part of the paper seeks to demonstrate that Millais strove to blend the aesthetics of the PRB with subject-matter that he felt was closer to the everyday popular concerns of the times. In addition, his reiteration of the Pre-Raphaelite preoccupations, techniques and devices has the lightness of manner and properties of a musical leitmotif, rather than the urgency and insistence of an unconditional engagement. Secondly, the paper concentrates on the cleavage between the representation of children in distress and children within the family unit, and briefly comments on the spirituality of the child according to Millais. Finally, the paper examines the portrayal of girls throughout Millais' career. The paper concludes that, thematically, children and childhood seem to define Millais best.
From the Paper
"The plot of The Rescue (1855) is mostly about protection and shelter, or rather, the lack of it. Millais plays with the colours and shades to create a general feeling of helplessness. The feeling of insecurity is heightened when we look at the figures of the three children trapped between the flames in the left-hand corner and the blackness and unhealthy mist of the London night in the right-hand corner of the painting. The figure of the fire-fighter as a temporary pillar of refuge echoes the blackness of the night outside, while the fragile whiteness of the figure of the mother is contrasted to the intense yellow-reddish flames, reflected on the face and feet of the boy. The painting stages a scene of distress and suggests future misery. Widely approved as celebrating "the bravery of the London Fire Brigade" (Adams 120), the painting contains the essence of the Pre-Raphaelite movement, which consists in a peculiar feeling of insecurity as to its real meaning. The spectator constantly hesitates between the two diverging interpretations. This is frequently due to the technical imperfections of many PRB paintings (a famous example is Lorenzo and Isabella but also Sir Isumbras at the Ford as we shall see further) but it has also become their special mark. It is difficult to say to what extent the instability generated is deliberate, especially in the case of Millais who was far from being a mediocre artist after all."
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Misinterpretation of 'Que Viva Mexico!', 2007.
This paper discusses whether the film, 'Que Viva Mexico!', by Sergei Eisenstein was misinterpreted.
9,293 words (approx. 37.2 pages), 24 sources, APA, AU$ 279.95
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Abstract
This study examines Eisenstein's unfinished film, 'Que Viva Mexico!' The writer aims to establish its so far misinterpreted history, as well as its importance in the wider discussion of Eisenstein's work. The writer notes that the study contains evidence exposing Soviet politics, responsible for the unfinished nature of the film. Furthermore, the study explores artistic influences, particularly the Mexican Muralist movement, which have so far been neglected. In addition, changes in Eisenstein's theoretical thought are investigated in an examination about extant scenarios and through close textual analysis. The writer argues that Eisenstein moved away from montage of attractions to pay close attention to the single shot: its composition, potential, aesthetics and meaning. Additionally, the film shot is particularly surprising in that it contains a continual linking of a man and his natural environment, the release of the female, local traditions and rituals on life, death and immorality, as well as elements of excessive over indulgence.
Table of Contents:
Introduction
Chapter 1
Chapter 2
Chapter 3
Conclusion
Bibliography
Appendix
Glossary of People
Glossary of terms and names in Que Viva Mexico!
Chronology
From the Paper
"Sandunga and Maguey do not reflect Eisenstein's understanding of the opposition between Rivera and Orozco on a visual level. The stories also express the difference in character. Sandunga is a romantic vision, set in the harmony of the unspoiled natural surroundings of the tropics, where as Maguey is governed by male violence. It contains the most brutal scene of the entire film, where under the pre-Revolutionary system; we see Mexican labourers die being crushed by horse hooves. This scene was to be the only scene that Mexican censorship decreed as inappropriate and damaging towards their country and that it was not to be shown. But, the scene does embody some futurist aspects with close ups of the peons being crushed by the horse hooves as they cross to form a triangular movement . The faces of the peons are in focus, while the dust and horses are out of focus and blurred, appearing as triangular cubic shadows."
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Vincent Van Gogh, 2006.
A biography of the life of Vincent Van Gogh.
2,314 words (approx. 9.3 pages), 4 sources, MLA, AU$ 104.95
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Abstract
This paper looks at the life and works of the artist Vincent Van Gogh who was born in 1853 in Holland and died in 1891. It looks at how Vincent Van Gogh was an extraordinary man who led a cursed life and how he constantly struggled with depression. The paper also ponders whether Van Gogh would have made many more masterpieces if he had not been sick or whether it was his mental illness that helped him to create the masterpieces he did.
From the Paper
"In 1880 Vincent decided he could still be used by God as an artist rather than a clergyman. He wrote: "To try to understand the real significance of what the great artists, the serious masters, tell us in their masterpieces, that leads to God; one man wrote or told it in a book; another, in a picture." He moved to Brussels and considered enrolling at the art academy, but rather chose to study independently. Sometimes he studied with Dutch artist Anthon van Rappard. While Vincent was not earning any money, his brother, Theo, (who was working at Goupil's Paris branch where Vincent was previously employed) sent him money. His brother continued to send him money until Vincent's death.5 "
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Andy Warhol's "Electric Chair", 2007.
An analysis of Andy Warhol's artwork, "Electric Chair".
720 words (approx. 2.9 pages), 0 sources, AU$ 37.95
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Abstract
This paper describes and examines Andy Warhol's "Electric Chair", a stark and interesting image of an electric chair. The paper speculates why Warhol uses such an image, what the meaning behind it is, and what emotions it relates to. The paper suggests that the artwork is possibly a sign of protest against the death penalty, and that it reflects the human fear of lonliness, the unknown, darkness and death. The paper ends on the note that the artwork evokes the disturbing issue that no one truly knows what happens after death.
From the Paper
"The image brings about several emotions. The emptiness and lack of human presence makes one feel completely isolated and alone. The dark colors and shadows bring a sense of fear. It makes you feel that death is near. Death is coming and it is unavoidable. Depending on how one interprets the art piece one might feel anger or a sense of justice. If one were to disagree with the death penalty then this image would bring a sense of anger. The electric chair would be seen as a tool for inhumane treatment and bring anger towards the government that allows its use."
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Constantin Brancusi, 2006.
An analysis of the works of the sculptor Constantin Brancusi.
759 words (approx. 3.0 pages), 3 sources, MLA, AU$ 40.95
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Abstract
This paper discusses how Brancusi is one of the defining figures of twentieth-century sculpture, and one of its most seminal artists. The paper looks at how the sculpture "Blond Negresse", created within 1926 to 1933, is one example of how his revolutionary carvings introduced abstraction and primitivism to modern sculpture. It also examines Brancusi's complex relationship with the tradition of artistic classicism that shaped him and which considered sculpture with highest form of artistic expression.
From the Paper
"Taking a look at Brancusi's first steps as a sculptor confirm that he took his classical heritage very seriously, that he in no way undertook it simply as an academic exercise that had been imposed upon him. Brancusi's intense re-workings of Hellenistic sculpture are evident in his first Parisian works: Sleeping Child (1906-7), Torment (1907), The Kiss(1907-8), Sleep (1908), and Torso (1909-10). Many models from the past have been proposed for these works, as well as contacts with the work of his contemporary Rodin. "Sidney Geist, for example, suggested that Torso may possibly have been inspired by a similar element in a painting by Cezanne, a feasible hypothesis since Brancusi's attitude to classicism is very similar to Cezanne's. "
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The Star System and Hollywood PR, 2007.
A discussion of the star system and its contribution to the development of Hollywood public relations and advertising strategies.
1,726 words (approx. 6.9 pages), 6 sources, MLA, AU$ 81.95
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Abstract
This paper explores the creation of the Hollywood star system, set up to encourage people to go to the cinema. This system, beginning in the 1920s, transformed the film actor into a kind of popular studio 'brand', which kept audiences coming back. The paper notes that the Hollywood star system contrasted with European cinema culture, which tended to be far more director- (rather than star-) driven and less oriented toward developing a brand. Finally, the paper discusses how the star system has contributed to Hollywood's enduring success, as is evident in today's star-centered movie culture.
Outline:
Introduction
Origins of the Star System
1920's: Rise of Star Power
Conclusion: The Breakdown of the Star System
From the Paper
"The Impact of the Star System on Film The star system is so intimately intertwined with Hollywood of the pre-World War II era that celluloid and stars cannot be separated. Indeed, the Star System is what created an American dominance in a medium that was, after all, developed by the French and Germans, and in which the Americans were relative latecomers to the genre.
"The Star System is about more than the actors who played in Hollywood films. The stars were those special beings who created a link with their audiences. In many cases, and particularly during the silent movie era, the stars' draw was universal: Charlie Chaplin (a British native but naturalized American) was a universal "brand," known as Charlie around the world (and "Charlot" in the French-speaking world), equally powerful in Berlin or Miami.
"There is only one Hollywood in the world. Movies are made in London, Paris, Milan and Moscow, but the life of these cities is relatively uninfluenced by their production. Hollywood is a unique American phenomenon with a symbolism not limited to this country. It means many things to many people. For the majority it is the home of favored, godlike creatures (Powdermaker)."
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National Socialist Art and Architecture, 2007.
A look at how the National Socialists in Nazi Germany used art and architecture for political purposes.
2,382 words (approx. 9.5 pages), 10 sources, MLA, AU$ 107.95
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Abstract
This paper examines how, forming part of the propaganda machine, art and architecture were used largely for the glorification of the Nazi regime and the Aryan race and for the denunciation of Judaism, Bolshevism and what the Nazis thought of as "degeneracy." The paper looks at how, by enforcing changes in the art world and through the use of "new German" architecture, the Nazis sought to cleanse the fatherland of "degenerate art", which was seen as detrimental to the Volk, and to ensure the National Socialist movement's immortality through buildings that would survive to inspire future generations of the thousand year Reich.
From the Paper
"Art held a place of high value in National Socialist ideology. Hitler who was an artist turned politician inspite of himself had said "art is the only truly enduring investment of human labour." Hitler linked artistic styles with race, claiming that the Weimar period's "degenerate art" was a result of "racial decline." The Fuhrer also linked art with politics saying "art has at all times been the expression of an ideological and religious experience and at the same time the expression of political will." According to Nazi ideology, only Aryans were the true bearers of culture, therefore only they could produce true art. The modern styles such as Cubism, Dadaism and Expressionism, which had flourished during the Weimar period were a result of "cultural Bolshevism" and influenced by the Jews. "
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Leonardo Da Vinci, 2007.
This paper describes the life of Leonardo Da Vinci including two of his masterpieces: 'Mona Lisa' and 'The Last Supper'.
785 words (approx. 3.1 pages), 4 sources, APA, AU$ 40.95
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Abstract
This paper explains that recent evidence suggests that Renaissance artist Leonardo Da Vinci, born in Vinci, Italy in 1452, was the son of a Middle Eastern slave named Caterina and his biological father, Ser Piero Da Vinci, with whom he lived in Florence. The author points out that Da Vinci was very successful in art as well as the fields of science, engineering, anatomy and inventing. The paper relates that Renaissance art did not take its roots from Romanesque and Byzantine traditions as Gothic art did but rather came out of the new and evolving civilization of this era. The author concludes that Leonardo Da Vinci ranks at the top of the list of influential artists of all time.
From the Paper
"Leonardo's second most famous work was 'The Last Supper'. This painting was begun in 1495 when Ludovico I Moro commissioned Da Vinci to paint the refectory wall of the Santa Maria Delle Grazie in Milan. This wall was located in the dining hall adjacent to the church and Leonardo decided to paint the very moment in which Christ announced that there was a traitor in their midst while they ate supper. Through his masterful brush, he managed to capture the personal reactions of each of the twelve disciples through their movements and facial expressions."
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