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"Criticism and the Public Arts", 2008.
This paper defends the course "Criticism and the Public Arts" as a beginning point in understanding how to apply academic methods of study to all aspects of art and communication.
2,140 words (approx. 8.6 pages), 9 sources, MLA, AU$ 106.95
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Abstract
This paper explains that "Criticism and the Public Arts" is a course that talks about art in society and about what is and is not accepted in society. The author points out that these issues need to be given a stronger academic treatment because the subject matter is not what decides whether a course of study is sufficiently rigorous but rather the methodology applied. The paper relates that a critique of public art is not merely a compendium of what one likes or does not like but instead necessarily includes an assessment of the appropriateness of the public art and of the complexities of communication. The author stresses that public art involves a number of decisions that can be characterized in theoretical terms and analyzed empirically as part of the process of developing an applicable theory.
From the Paper
"Critic Ruth Slavin begins by considering the writing that supports public art, noting that it stresses two different but complementary ideas: 1) public art is considered to stand in a direct, unmediated relationship with the audience; and 2) public art is seen as an exercise in cultural democracy. Slavin is clear about the supposed result of this as she writes that "the placement of art outside the normal venues of the gallery and the museum becomes an important tool for enlarging the possibilities for participation in the fine arts." However, Slavin further finds these to be "liberal good intentions" often faced with "public incomprehension and hostility."
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Modern Motion in Futurism, 2008.
A study of the theme of modern motion in the paintings "State of Mind: The Farewells" by Umberto Bocking and "Cosmic Flora" by Paul Klee.
750 words (approx. 3.0 pages), 2 sources, MLA, AU$ 42.95
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Abstract
This paper examines the nature of modernity in motion within the futurist movement at the turn of the 20th century. By analyzing "State of Mind: The Farewells" (1911) by Umberto Bocking and "Cosmic Flora" (1925) by Paul Klee, the paper shows how the works present both an organic and industrial representation of the fast movement of technological developments, which provide a distinct sense of motion through composition and objective technique. The paper concludes that, through their desire to capture the quickening tempo of advancing technology and rapid development, these painters took an abstract and progressive view towards motion in composition, in which modern motion became the axis of human progress.
From the Paper
"Another advocate and inspiration of the futurist movement was Paul Klee, as his compositions also provide a varied set of modern motion that provide a more organic variety of this style. In "Cosmic Flora" Klee shows a set of tiered expressions of the movement of life in 'cosmic' framework, very much like a set of parallel filmstrips in a moving picture. The different aspects of floral and landscape arrangements act as a similar stylistic that was to be used as a vehicle for motion in futurism. Other artists such as Egon Schiele and Franz Marc used this type of motion that provides a framework for motion in relation to space. Klee's attempt to show an abstract point of view of movement in a cosmic setting is also similar to Boccioni's "The City Rises", which provides the idea of modern urban people as a blurred and nearly incomprehensible set of objects that are restless and constantly active. With the 20th century technological advances making rapid progress, Klee is representative of a more organic type of futurism that expressed movement in the fluidity of modern motion (Klee 31), but without the industrial aspects of Boccioni's works. For Klee the major difference between his own organic motion and industrial motion are the only aspects of differentiation that do not bind him to the futurist movement of Boccioni's "State of Mind: The Farewells.""
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Art as Propaganda, 2008.
This paper discusses the use of art in politics within the American society.
2,938 words (approx. 11.8 pages), 8 sources, MLA, AU$ 138.95
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Abstract
In this article, the writer discusses that art and politics often go hand in hand, though usually artists seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. The writer notes that at times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval. The writer concludes that the history of the way art has been used by the government suggests that the art itself is viewed in terms of its usefulness more than its actual content or any aesthetic base it may have, and primarily modern art has been used to counter the more staid and more politicized art in support of enemy ideologies.
Outline:
Introduction
Modern Art
Art and Politics
Art and American Taste
Art and Ideology
Conclusion
From the Paper
"The modern art movement diverged from the more accepted representational art preferred by most political leaders, and even though much modern art was considered too opaque to be understood and in some ways decadent, it was embraced as a propaganda tool by the U.S. government through agencies such as the CIA during the Cold War period. Most Americans are unaware of the way this process was undertaken and used and might be surprised by it, given the more prosaic attitude taken toward art by political leaders to this day. Analysts point out that many of these programs were conducted quite openly just the same, though even observers aware of the program might wonder why modern art was chosen and how it was used to benefit American interests."
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"Bridge at Argenteuil", 2008.
A look at the Impressionistic innovations of Claude Monet in the "Bridge at Argenteuil".
733 words (approx. 2.9 pages), 3 sources, MLA, AU$ 42.95
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Abstract
The paper analyzes the facets of the impressionistic style in the "Bridge at Argenteuil" by Claude Monet. The paper describes how the "Bridge at Argenteuil" is an innovative landscape that creates new ways to interpret color and light through the stylistics of Monet's impressionist approach.
From the Paper
"Claude Monet painted The Bridge at Argenteuil in 1874, further innovating new insights into how impressionism would evolve in light of the classical realism as a dominant art style of his era. The clarity of form through Realist objectivity (the major influence of scientific thought) in many European works--especially those in Great Britain--was a major cultural opponent of Monet's painting style and unorthodox use of color and lighting. In the painting, Monet applies a series of short brushstrokes that result in a choppy formation of various colors, such as green, browns, and blue that build upon the reflection of the bridge, the sky, and the boat on the water."
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The "Pieta", 2008.
An analysis of the pyramidal aspects of Michelangelo's "Pieta" and the Christian iconography of the Holy Trinity within it.
1,125 words (approx. 4.5 pages), 4 sources, APA, AU$ 62.95
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Abstract
This paper presents a formal, iconographic and historical analysis of the "Pieta" by Michelangelo. It defines the pyramidal aspects of the sculpture's composition and the Christian iconography of the Holy Trinity. It also looks at the historicity of the piece as it relies on classical and natural stylization that were in line with Michelangelo's humanist perspectives for Mary after Jesus was crucified.
From the Paper
"This aspect of critical commentary is revealed through the objectives of Michelangelo to create a sculpture that would echo the divine nature of Christ, yet with the humanist values of naturalism that he espoused in depiction of human relationships. The divine nature of Christ and Mother reflect the unity of religious vision with Mary sorrowfully looking down on her dead son, yet they are both keenly aware of the significance of the Passion and the Crucifixion. This aspect of the iconography of the sculpture dictates the human suffering involved in Christi's life on earth, yet with the divine serenity of peace on his face with the realization that he has fulfilled his promise to humankind (Hibbard, 1985, p.270). This is the humanist Christian iconography that emulates a divine relationship between mother and son, but not without the deified presence of Christ fulfilling his redemption of sin for humankind by his crucifixion."
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Language and Culture, 2008.
This paper compares two articles on the cultural significance of language; "Decolonizing the Mind" by N'gugi wa Thiong'o and the "Intellectual Savage" by Jamake Highwater.
1,088 words (approx. 4.4 pages), 0 sources, AU$ 60.95
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Abstract
The paper examines two articles, "Decolonizing the Mind" by N'gugi wa Thiong'o and the "Intellectual Savage" by Jamake Highwater. The paper explains how the articles discuss how language becomes the means through which a cultural reality is transmitted, thus controlling language is one means by which colonial usurpers can control self-imagery and self-awareness. The paper is of the opinion that both articles do a commendable job of highlighting the inter-relationship between language and culture.
From the Paper
"In her article, "Decolonizing the Mind," N'gugi wa Thiong'o writes about her childhood speaking Gikuyu in her native Africa. In particular, she devotes time to recollecting how, as a small child, she listened to tales about how the weak hare could outwit the beasts of prey - the lion, the leopard, and the hyena - and stay alive in a hostile world. Not to be overlooked, she comments at length upon the different types of human beings who emerged in anthropocentric tales and how some were cruel, selfish and opposed to all that might foster a stronger community, and how others were kind, giving and individualistic; in assessing the narrative, it is evident that Ngugi wa Thiong'o is comparing the beasts of prey with colonizers eager to take over her native land. More than that, those stories impressed upon her the power of language - its cadence, rhythm, inflection, its suggestive power - and how language could bind a community together. Later though, this harmony would be broken when Englishmen took over the school system and made it a serious penalty for any child to be speaking the native Gikuyu language instead of the alien, oppressive English of the colonizers."
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The Metropolitan Museum of Art, 2008.
An overview of the Renaissance exhibition at the Metropolitan Museum of Art.
724 words (approx. 2.9 pages), 3 sources, MLA, AU$ 41.95
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Abstract
This paper discusses how the special exhibits at the Metropolitan Museum of Art serve an important role in the storytelling of social, political and art history. In particular, it looks at how the special Renaissance exhibition tells a fascinating story of religious and intellectual enlightenment, and provides patrons with a glimpse of Renaissance tastes, fashions, standards of living and way of life. It examines how the artwork of Fra Angelico and the special exhibit on Renaissance tapestries provide a great deal of knowledge and insight on Renaissance artist influence in religion, society and affluent tastes.
From the Paper
"Angelico's famous pieces The Nativity and The Virgin of Humility are displayed at this exhibit. The works are very powerful, using bright colors to emphasize the birth of Jesus, angels rejoicing from above, and the Virgin Mary cradling Jesus. The pieces individually show Angelico's devotion to the Catholic Church, with symbolism fairly common within the paintings. However the paintings also portray to the viewer the saintly respect provided to the acquaintances of Jesus, especially the mother Virgin Mary. "
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The Negatives of Gentrification, 2008.
This paper argues that the negative consequences of gentrification should be considered before any changes to a site or a building.
1,994 words (approx. 8.0 pages), 5 sources, MLA, AU$ 102.95
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Abstract
The paper looks closely at "Fort Thunder", a community in Rhode Island that ceased to be a thriving artistic area when city-planners and architects decided that it needed to be brought more in line with modern aesthetic sensibilities. The paper maintains that those who are looking at "refurbishing" an urban site should take into account the history of the site and whether the changes will take away more from the local community than any structural improvements might give back to it.
From the Paper
"To begin with, it must be understood that the Fort Thunder community was not simply a meeting-place for local bohemian, artistic types; it was also an enormous milling operation at one time. To elaborate a little further, 1842 saw a gentleman named John Giles found Valley Worsted Mills on the location; the operation was one of the earliest worsted mills in all the United States. 1866 saw the impressive operation stricken by a catastrophic fire that destroyed the main mill. Despite this set-back, Giles immediately set upon building a new structure and the revamped mill site - now including further additions - soon became enormously profitable; indeed, by the 1890s it was producing 100,000 pounds of worsted yarn per month. Sadly for the employees of the mill, all good things must invariably come to an end and the twentieth century saw a gradual decline in the demand for the mill's products. In 1928, the American Woolen Company (which had taken over the mill in 1899) relinquished the property and the plot was (after three years had elapsed) sold to a local realtor who in turn leased the space to a variety of other businesses - including textile companies ("Eagle Square, formerly Valley Worsted Mills: History," para.1-3)."
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A Geisha Art Display, 2008.
This paper describes an art exhibit that will show the importance of Geisha to the Japanese culture.
822 words (approx. 3.3 pages), 6 sources, MLA, AU$ 47.95
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Abstract
The paper explains the importance of Geisha to the Japanese culture. The paper explains that Geisha means "a person of the arts" and the typical geisha was adept in flower arranging, calligraphy, music, dance, and the unique Japanese tea ceremony. The paper describes the art exhibit that will include the Kimono traditional clothing, Ikebana (flower arranging) and Japanese calligraphy. The paper relates that visitors to the art exhibition will leave with a clear understanding of geisha's striking contrast with the reserved nature of the regular Japanese culture. The paper includes images of the Kimono clothing, flower arranging and Japanese calligraphy.
Outline:
Geisha Art Display
The Art Pieces
Kimono
Ikebana
Calligraphy
From the Paper
"To understand the importance of Geisha to the Japanese culture as well as its significance within that culture, one must first understand Japanese culture. Within Japan the Japanese language epitomizes the culture with its emphasis on order and structure while such aspects as clothing, epitomized by the kimono which means literally "something that is worn" are widely seen within the culture as the ideal of Japanese garments (Sugimoto 43). Additionally, Japanese culture takes art forms such as painting, wood block prints, and especially calligraphy based on Chinese characters and makes of them a highly stylized, abstract art form. Yet, Japanese are, in their daily lives, quite reserved and adhere to strict social mores regarding behavior, speech, and a high regard for social order (Sugimoto 14). Thus, it can be imagined that where the typical historical Japanese woman might be reserved and less forward in not wanting to bring attention to herself geisha became a highly stylized representation of the Japanese woman. That is, without the social constraints of folkway and mores that barred traditional Japanese women from self-expression, geisha might be thought of as the unconscious expression of how many women, and men, conceived them to be."
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Painting Madonna and Child, 2008.
This paper analyzes the formal, iconographic, and historical themes in the work 'Madonna and Child' by Duccio di Buoninsegna.
1,162 words (approx. 4.6 pages), 5 sources, APA, AU$ 65.95
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Abstract
In this article, the writer discusses the painting 'Madonna and Child' by Duccio di Buoninsegna. The writer notes that the Italian formalization of the Gothic style was implemented within the medium and stylistics of this medieval painting. The writer points out that Buoninsegna's style was part of the Sienese School, which held to the non-passive dictates of religiosity within the Christian iconography in the 13th and 14th centuries. The writer maintains that Buoninsegna was influential in creating a non-passive baby Jesus, which helped to transform the way that the Madonna and Child had been perceived earlier in Christine art. In essence, the formal, iconographic, and historical facets of 'Madonna and Child' by Duccio di Buoninsegna are analyzed in this study.
From the Paper
"The medium of the painting is the common usage of tempera on wooden panels. In the late medieval style it was common to use this form of paint to help bring about a lush and thick layer-based type of paint to bring out the varying contrasting hues. Also, the painting uses gold to help bring about the divine sunlight or religious light of Jesus, as he is reaching toward his mother's face. Mary is draped in a black gown as she looks down upon her divine child. Gold inner-fabric is surrounding her face, as the artist is clearing defining a demarcation of her face in contrast with her dark hood, as she is gazing downward in majesty. The composition has Mary centered in the painting, but has the baby Jesus set off the lower right side."
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American Art, 2008.
This paper analyzes the American paintings and sculpture exhibition at the Metropolitan Museum of Art.
875 words (approx. 3.5 pages), 3 sources, APA, AU$ 50.95
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Abstract
This art study examines the American paintings and sculpture exhibit at the Metropolitan Museum of Arts in New York City. The writer notes that the exhibit is formulated around a three-fold objective: portraits, landscapes and sculpture for early American history. The writer maintains that by examining one piece from each of these sections of the exhibit, there can be a diversified analysis of how the pieces are placed into the overall framework of the museum. The writer concludes that these American art exhibits represent a historical view of early American history and stylistics.
From the Paper
"The historical perspective of this painting is recreated in a fictional pose for Washington and his solders as they cross the Delaware to surprise their British and Hessian enemy. This was an important point during the revolutionary war in which Washington gained a growing national and international support for the cause for independence. This aspect of the exhibition directly relates to the patriotic symbolism of the gallery, as it is representative of a collection that define American historical context. The painting is 149 x 255 inches and is placed within one of the large gallery rooms. The need for this is accentuated not only in its size, but for the centrality of its importance for the historical forum that the Metropolitan Museum of art is presenting. This painting is properly placed in the overall architecture of the northeastern part of the Met, since it allows a wide range of visibility and composure for the viewers to understand the crucial place this painting holds in American art history."
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Contemporary Art and Society, 2008.
This paper discusses that society has changed significantly and, in parallel, its relationship with art has transformed as well.
1,210 words (approx. 4.8 pages), 5 sources, MLA, AU$ 66.95
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Abstract
In this article, the writer notes that art institutions have undergone significant changes in the past several decades. These changes are the result of the transformations in society as well as in art. The writer maintains that one way of addressing this relationship transformation is analyzing the position of art institutions that exist within societies and countries around the world. The writer points out that art institutions, like galleries and museums, are places where not only the work of art meets the eye of a critic but also locations where the broader public interacts with it. The writer notes that the public interaction with the artistic world in the art institutions is of crucial importance. After all, whether a work of art is going to survive or not depends a great deal on its public acceptance.
From the Paper
"The art and artistic expression has elevated itself from aesthetic human activity to more intellectual and actively socially involved one. The artists view their role as a socially active one, as members of society who openly and sometimes provocatively challenge the accepted ideas and social values. They are ready to tackle the ethic and social taboos, attitudes and widely accepted believes. This inevitably is result form the fact that the contemporary art works are not created form the void. Rather, the conditions within our society shape the ideas and "products" of artistic activity. The artwork becomes as a result, a part of a dialogue that comprises the culture in our society."
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Bauhaus and Furniture Design, 2006.
An examination of the influence of Marcel Breuer upon modern furniture design.
2,048 words (approx. 8.2 pages), 10 sources, MLA, AU$ 103.95
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Abstract
This paper examines the furniture designs of one of the Bauhaus' most famous designers, Marcel Breuer (in the context of the Bauhaus and the modern movement). The paper argues that Breuer's furniture designs reflect the overall Bauhaus interest in the application of industrial mass production to the creation of domestic spaces defined by quality design. The writer explains that although the Bauhaus was to only exist for a few short years before its closing by Germany's Nazi government in 1933, its ethos can be seen to be reflected in much of Breuer's innovations in furniture design. The writer also notes that Marcel Breuer's furniture design would prove so enduring and popular that it came to be characteristic of the modern movement. The writer concludes that in situating Breuer within the context of the Bauhaus, we can see how his modernist vision evolved from an emphasis upon aesthetic principles to a focus upon the primacy of industrial design that may be inexpensively reproduced through mass production techniques. An annotated bibliography is appended.
Outline:
Introduction
The Bauhaus Vision
Marcel Breuer and Modern Furniture Design
Conclusion
From the Paper
"The Bauhaus School that came into being in Germany in the wake of the First World War represented arguably the single most influential school in the history of modern design. Headed by figures such as Walter Gropius and Mies van der Rohe, and defined by a socially egalitarian ethos that envisioned industrial production as the key to presenting quality designed products for the general public, the Bauhaus was to play a critical role in the shaping of how the twentieth century perceived modern design."
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"Saint Anne with the Christ Child", 2008.
This paper discusses Georges de la Tour's painting "Saint Anne with the Christ Child".
1,196 words (approx. 4.8 pages), 5 sources, MLA, AU$ 65.95
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Abstract
The paper analyzes the painting "Saint Anne with the Christ Child" by the French artist, Georges de la Tour. The paper examines the painting's formal and contextual characteristics and analyzes it as an example of Baroque art, compared to other artists of the baroque style. The paper looks at how the painting relates to religious, political, cultural and social changes that took place at that time. Finally, the paper examines how this work speaks about the religious propaganda happening at the time.
From the Paper
"Georges de la Tour' Saint Anne with the Christ Child is an oil on canvas, believed to have been painted around 1639-1641. The painting represents a night scene, illuminated only by a single candle, of the Virgin's Mary's mother watching the baby Jesus. This painting is at the same time a very religious painting, but also an intimate painting showing a woman looking lovingly at a sleeping child. Her face and clothes are very detailed. It has a mystical as well as a natural feel at the same time. It is actually part of a larger painting, a nativity that included Mary on the side. The most striking characteristic of the painting is the master use of shadow and light and in particular the candlelight that is depicted in the painting. There is overall silence and stillness in the composition both gently broken by candlelight and baby's breathing."
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The Achievements of Bernini Gianlorenzo, 2008.
An analysis of the achievements of Bernini Gianlorenzo, particularly his marble sculpture, "Ecstasy of St. Teresa."
744 words (approx. 3.0 pages), 3 sources, MLA, AU$ 42.95
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Abstract
This paper discusses the achievements of Bernini Gianlorenzo, who was a superbly talented Baroque sculptor and architect. The paper shows how Bernini's combination of great talent in multiple fields, spirituality and versatility all combined to give him a range and a quality which helped to make his work outstanding. It particularly focuses on his best known work - his marble "Ecstasy of St. Teresa."
From the Paper
"As we have seen, Bernini's combination of great talent in multiple fields, spirituality, and versatility all combined to give him a range and a quality which helped to make him outstanding not only among his peers, but for all time. Moreover, his incredible talent with stone enabled him to give the appearance of life and movement to cold hard marble. To this day, we cannot look at his Ecstasy of St. Teresa without feeling some of the ecstasy, and feeling that we too might one day ascend to commune with God."
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"Marilyn", 2008.
An analysis of Andy Warhol's work, "Marilyn," in the context of the theories of Karl Marx.
2,454 words (approx. 9.8 pages), 7 sources, APA, AU$ 119.95
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Abstract
This paper discusses Andy Warhol's image of Marilyn Monroe, which he created using silkscreen. The paper suggests that the work was a reflection of the time period and a comment on the capitalistic society that was impacting the lives of all people throughout the world. It then goes on to analyze the work, "Marilyn," in the context of the theories of Karl Max.
From the Paper
"The research indicates that there is significant evidence in the literature to conclude that within Warhol's work Marilyn the artist included Marxist ideology as a foundation for his creation. In many areas Warhol's philosophy of the world mirrored the beliefs of Marx, especially in relation to how Marx contended that society was controlled by capitalistic gain and through the alienation of man from his world. It is not apparent whether or not Warhol personally adopted the theories of Karl Marx in relation to his life or his work. However, there is strong evidence that criticism of the artist's image of Marilyn indicates that there was a shared ideology between Marx and Warhol, which transcends the silkscreen print of the actress."
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