| Papers [81-96] of 1888 :: [Page 6 of 118] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
Beethoven and Van Gogh, 2008.
A comparative analysis of the psychology behind the works of Ludwig Van Beethoven and Vincent Van Gogh.
936 words (approx. 3.7 pages), 3 sources, MLA, AU$ 54.95
»
Click here to show/hide summary
Abstract
This paper examines various psychological factors within the behaviors and biographies of Ludwig Van Beethoven and Vincent Van Gogh. The psychological concept of "nature versus nurture" is examined to reveal the innate and behavioral aspects of Beethoven and Van Gogh's creative genius in music and art. It looks at how, although both artists often conveyed innate "natural" abilities, both artists were often supported through societal influences that provided them with the tools to create masterworks in their fields. In essence, the psychological aspects of "nature versus nurture" are analyzed, revealing the behavioral influences that nurtured the creative genius of Beethoven and Van Gogh.
From the Paper
"The life of Ludwig Van Beethoven is one that is wrought with a father's obsession to control his son's musical talents. When Beethoven was young, he was often forced by his father to practice the study of music and instrumentation. The psychological ramifications of nature versus nurture are very much a conflicting issue in Beethoven's early musical development. Although there is now way to gauge the innate talent of Beethoven, he certainly appears to be "naturally gifted" in the mind of his father."
| |
|
Greek Statues, 2008.
A comparison of Greek statues - the kouros of the Archaic period and the depiction of Demosthenes from the High Hellenic period.
1,529 words (approx. 6.1 pages), 3 sources, MLA, AU$ 81.95
»
Click here to show/hide summary
Abstract
This paper discusses the evolution of Greek statues over the centuries. It presents an overview of Greek statuary, focusing on the Archaic period and the High Hellenic period. The paper specifically focuses on and compares the kouros of the Archaic period and the depiction of Demosthenes from the High Hellenic period in order to understand how the changes came about.
Table of Contents:
Overview
The Archaic Period: the Kouros
The High Hellenistic Period: Demosthenes
Comparing Statues
Conclusion
From the Paper
"The kouros was never intended to represent a single individual. Instead, such statues were intended to represent a group of people, being that of idealized male youths at the height of their sexually attractive state. However, the statue of Demosthenes is clearly a representation of a single individual. It does not merely represent a group of people, being an idealized representation of the group "philosopher." Rather, the statue of Demosthenes is what Pedley calls a "psychological portrait" (352) of a living being, unlike the ambiguous kouros who exists suspended outside of time."
| |
|
From the Houston Museum of Fine Arts, 2007.
This paper analyzes four works of fine art from the Houston Museum of Fine Arts.
875 words (approx. 3.5 pages), 4 sources, APA, AU$ 50.95
»
Click here to show/hide summary
Abstract
This paper examines Claude Monet's" Water Lilies" ("Nympheas"), "Fereghan Horse" from the Chinese Tang Dynasty, John Singer Sargent's "Mrs. Joshua Montgomery Sears" and Mary Cassatt's "Children in the Garden" ("The Nurse") from the Houston Museum of Fine Arts. The author points out that Claude Monet's water lilies depict the Japanese styled stillness that Monet desired in works of nature. The paper relates that in Sargent's work, "Mrs. Joshua Montgomery Sears, the use of oils reveal the complexity of paints that provide greatly contrasting chiaroscuro that abounds in the work. The author further notes that the main subject in Mary Cassatt's work is the profound sense of women relationships that exist within elite households.
From the Paper
"The choppy brushwork of the fauna along the pathway is representative of Impressionist works of the period, while Cassatt abstracts the forms of the nurse and the children by denying them any detail. Small circular brush strokes define the flowers along the path, which help anchor the depth of the work. In effect, the composition of the painting provides some depth and perspective, as the nurse causally knits while the lone child plays at her side. By placing the woman and the two children off center of the painting, this provides the depth and abstraction of form need to bring out depth perception along the angle of the pathway."
| |
|
The Contemporary Fine Art Markets, 2007.
This paper is an anthropological analysis of the contemporary fine art market based on Stuart Plattner's study, titled 'A Most Ingenious Paradox - the Market for Contemporary Fine Art' from "American Anthropologist".
2,270 words (approx. 9.1 pages), 8 sources, APA, AU$ 113.95
»
Click here to show/hide summary
Abstract
This paper explains that Plattner's article, 'A Most Ingenious Paradox - the Market for Contemporary Fine Art', reports trends in the North American contemporary fine arts markets and in the commodification of fine art that reflect a neo-liberal environment of considerable new wealth and the culture of consumerism. The author points out that Plattner's orientation is one of participant-observation; a person exposed directly to the phenomenon of local fine art businesses and those who produce for them. The paper concludes that the local fine art markets are well established and profitable and that its artifacts may indicate a great deal regarding consumer tastes and behavior.
Table of Contents:
Introduction
An Informal Ethnography
The Decline of Authority
Economic Anthropology and Fieldwork in Toronto
Concluding Remarks
From the Paper
"Few consumers can know much of why one piece of fine art in a local venue costs more than another, as producers know that few seem to purchase with an eye to buying something to appreciate in value, as opposed to buying due to personal preference. In local and regional markets, the artists that Plattner refers to as identity producers can have an involved philosophy towards what they produce of which consumers need not know, featuring ideas of contributing to a total cultural heritage rather than pursuing artistic fame or monetary success."
| |
|
Antoine Watteau and Marc Chagall, 2007.
A comparative analysis of the paintings "The Pleasures of Love" by Antoine Watteau and "The Birthday" by Marc Chagall.
909 words (approx. 3.6 pages), 2 sources, APA, AU$ 52.95
»
Click here to show/hide summary
Abstract
This paper discusses how artists in different eras can address the same general subject and produce very different works, as can be seen by a comparison of two paintings on love, "The Pleasures of Love" by Antoine Watteau and "The Birthday by Marc Chagall". The paper attempts to show how both works, some two centuries apart in time and very far apart in terms of style, give interesting images of love and of the way love separates lovers from the world and places them in a place all their own.
From the Paper
"The Watteau was painted in 1719 and is a colorful scene showing a number of courtly persons on a wooded site, with the central group consisting of four couples, and with other couples seen off to either side. They are grouped before a statue of Venus, with Cupid hanging onto her leg. The work is one of a genre called fetes galantes, or "romantic and idealized scenes [that] depict elaborately costumed ladies and gentlemen at play in fanciful outdoor settings" (Watteau, Jean-Antoine, 2002, para. 1). "
| |
|
Realism and Expressionism in Art, 2007.
A comparison of realism and expressionism in the feminist art works of Kathe Kollwitz and Paula Modersohn-Becker.
1,326 words (approx. 5.3 pages), 8 sources, MLA, AU$ 71.95
»
Click here to show/hide summary
Abstract
This paper examines, compares and contrasts realism and expressionism in the works of Kathe Kollwitz and Paula Modersohn-Becker. It focuses on Modersohn-Becker's "Self-Portrait with Amber Necklace" and "Self Portrait on Her Sixth Wedding Anniversary" and Kathe Kollwitz's "Praying Girl" and "Small Self-Portrait". The paper shows how both artists comparably use a feminine self-expression, but they use differing variations of drawing and painting in their stylistic methods of art.
From the Paper
"The latest of the works that will be analyzed in this study will be the etched lithograph "Small Self Portrait" (1920) by Kathe Kollwitz. The grim countenance of the artist in this drawing reflects her old age, as well as a tired expression defining her life-long artistic commitment and loyalty to the working classes. This feminine image is not grandiose or tainted as are normative standards of beauty that were common in this period, and reveal the reality of an old woman who has seen a great many difficulties in life. In her life, she often sought out women models that reflected her "interest and sympathy for the hardships of the humble working women" (Prelinger 105). The hard lines of her face are depicted in the drawing, which connotes the hardship that she often wished to see in the working people in her community. In many cases, the dark lines and shadowing reflect the realist manner of clarity and proportion, which depict the essence of a clear-sighted view of the artist's presence. Often, this "reality" of her line and composition often dictated her desire to depict people as they appeared, not as an artist's own selfish distortion or beautification of life."
| |
|
Corporate Design, 2007.
This paper analyzes the influence of corporate designs on society and the daily lives of individuals.
990 words (approx. 4.0 pages), 6 sources, MLA, AU$ 57.95
»
Click here to show/hide summary
Abstract
This paper explains that one can understand the importance of corporate design when one realizes that consumers purchase products, such as home electronics, are based primarily upon the design of these products rather than on their underlying quality. The author points out that design has integrated business and commercial activity into the very domain of the home, which was once considered private, personal and off limits to business activity. The paper relates that ergonomics has influenced design in the work environment, which has changed the work place from a place of servitude to a place of comfort where an individual is not an accessory to the environment but rather a part of the environment.
Table of Contents:
Overview
Design as Human Enterprise
Manifestation in Daily Life
The Work Environment
The Urban Setting
Conclusion
From the Paper
"A perfect illustration that design has a pervasive impact on the human condition is found in the argument that architects are partly social engineers as well as designers. Architects in certain disciplines affect social change across demographics within a city by virtue of what and how they design the structures where individuals interact with the civil environment of the city. ... Architects examine design not as a method to control nature but as a way to facilitate the human interaction with nature and improve that interaction to the benefit of both nature and mankind."
| |
|
The Cyclades and Greek Art, 2007.
This paper examines the archaeological evidence of the Cyclades, as well as later Greek works.
2,671 words (approx. 10.7 pages), 13 sources, MLA, AU$ 129.95
»
Click here to show/hide summary
Abstract
The paper analyzes the artifacts found from the Cyclades sites and pottery from the same region. The paper describes how the style of the Cyclades statuettes fits with other works from different parts of the near east and shows how it influenced later classical Greek and Roman sculpture. The paper discusses the many shifts in aesthetic viewpoint in this century, when art was redefined in terms of the existing social relations and prevalent aesthetic ideas. The paper also looks at the geometric style in Greece and the relationship of art, mathematics and computer technology today.
Outline:
Introduction
Findings
Pottery
Developments
From the Paper
"The Cyclades are a group of islands in the Aegean Sea where neolithic burial sites have been found. The figurines found tend to be stylized and abstract in form (Fiero 8). The clay figurines in this culture are in place of the neolithic idols made of clay from other regions. The marble quarried on these islands made it possible for the workshops of the culture to flourish. Products made by artisans on the Cyclades made their way to Crete and also to the mainland. Most of the statuettes are naked female figurines with their arms crossed over the abdomen, and they are generally not designed to stand erect."
| |
|
Architect Frank Gehry, 2007.
This paper discuses four structures designed by world famous architect Frank Gehry: The Malibu studio and residence of artist Ron Davis, the Experience Music Project in Seattle, the Disney Music Hall and the Guggenheim Museum in Bilbao, Spain.
1,485 words (approx. 5.9 pages), 6 sources, MLA, AU$ 79.95
»
Click here to show/hide summary
Abstract
This paper explains that Frank Gehry is noted not only for the unusual organic look and materials on the exterior of his buildings but also for changing the way people relate to the interior design of buildings. The author points out, in the examples of Gehry's designs, how he shows interesting variations on the way people relate to the interior, get into and out of the interior and react to the function of each building. The paper relates that Gehry's interiors and exteriors also are linked to the land more directly than is often the case with other structures, not merely by being placed on a certain ground but by making use of this terrain and by forming an organic bond inside and out.
From the Paper
"The Disney Hall seems to connect to the street in some ways. The Seattle music building includes a rail system that goes right through the building. The museum in Bilbao connects the structure directly to the street and to the main thoroughfare of the town, a road that cuts through the complex of buildings making up the museum. The museum itself is not a single structure but a series of nineteen galleries connected in such a way that they make up one large building, or at least give the impression of one large building."
| |
|
Neo-Expressionist Artist Julian Schnabel, 2007.
This paper discuses one of the leading American Neo-Expressionist artists, Julian Schnabel, who represents something of an enigma in contemporary art.
1,425 words (approx. 5.7 pages), 8 sources, MLA, AU$ 76.95
»
Click here to show/hide summary
Abstract
This paper explains that Julian Schnabel's work and reputation serve as excellent examples of the complex processes that shape art criticism and reputation in the world of contemporary art. The author points out that Schnabel's theatrical work, such as his "signature" style of painting images and portraits on the medium of broken pottery/plates and black velvet, was the product of a post-modern culture, driven by an unprecedented scale of investment in modern art using the wealth created by the 1980s stock market. The paper argues that Schnabel's rejection of any sense of autonomy or "purity" in favor of a deep engagement with mediated culture is distinctly post-modern.
From the Paper
"From this perspective, it is not surprising that as Schnabel's critical reputation as a figurative artist began declining - not coincidentally, around the same time as a global recession ended the economic boom of the 1980s - Schnabel turned to another artistic medium in which to work: film. This may not have been such a dramatic leap as it might first appear, for critics reflecting upon Schnabel's early paintings have noted qualities in them reminiscent of film. Schnabel's first venture into film was the biopic of his friend and fellow artist in the New York art world of the 1980s, Jean-Michael Basquiat."
| |
|
Writers' Responsibility, 2007.
This paper discusses the responsibilities of a writer and looks at why the views of artists about their work need to be heard.
1,168 words (approx. 4.7 pages), 3 sources, MLA, AU$ 65.95
»
Click here to show/hide summary
Abstract
In this article, the writer discusses that whether writers have a responsibility to define, discuss and defend their subject matter is one that is of increasing interest in today's media-saturated world. The writer of the paper notes that writers are asked by readers, and by their own publishers, to talk about why they write about certain topics, and how they feel about art, politics, and life in general. The paper asserts that writers must be part of the public discussion about their works in order for these pieces of art to mean anything in the long term. The paper further maintains that it is not enough to simply write a book or story, and then to sit back and let random interpretations flow. Rather, writers have a responsibility to the public to explain their viewpoints, the reasons they choose to write, and what their experiences ought to say to us at some broader level.
From the Paper
"As a career, writing is one in which there exists at some level an ultimate degree of freedom. A writer can choose to write about whomever, whatever or whenever he or she feels is appropriate. Creativity, imagination, and a way with words all tend to be important characteristics if one wants to succeed in this career. An important question arises, however, when a writer achieves some measure of commercial and critical achievement. All of a sudden, writers find that thousands, perhaps millions, of individuals are reading their work, and that they no control whatsoever over how this story is received. For many writers, this presents a frightening reality: the work that they have created has become a public entity with a life of its own. Stories, novels, poems and plays that have been lovingly crafted by their authors are now things that are read in schools, analyzed by the water cooler, and discussed at the dinner table."
| |
|
Pop Art, Rock 'n Roll Music and Modernist Literature, 2007.
An analysis of pop art, Rock 'n Roll music and modernist literature in the 20th century.
1,094 words (approx. 4.4 pages), 3 sources, MLA, AU$ 62.95
»
Click here to show/hide summary
Abstract
This paper provides a three-tiered analysis of the most important trends in art, music and literature since 1890. In the paper, Andy Warhol represents the important trend of pop art, the Rolling Stones represents the important trend of Rock 'n' Roll in popular music and finally, Ernest Hemingway represents the crucial trend of modernist literature in the 20th century. It shows how these trends are an important part of the cultural identity of the 20th century, which impart crucial influences as to how art, music and literature evolved in this time frame.
From the Paper
"The insanity and terror of war of this kind is the direct result of losing one's honor in a battle field that had little to do with chivalry and honor. Modernism reflects the reality and horror of war, as Hemingway clearly indicates in his response to coming home and telling his story to the local people in his town. In an age of machines and World Wars, Hemingway was a part of the important trend of literary Modernism, which provided the reality of war that counteracted the romanticism of war in the 19th century."
| |
|
The Art of Andy Warhol, 2007.
An analysis of elements of Marxist ideology that arise within Andy Warhol's art works from the 1960s.
2,905 words (approx. 11.6 pages), 10 sources, APA, AU$ 138.95
»
Click here to show/hide summary
Abstract
This paper analyzes the various elements of Marxist ideology that arise within Andy Warhol's art works "100 Cans" (1962), "Marilyn Monroe" (1967) and "A Set of Six Self Portraits" (1967). It discusses the idea of commodity and cultural identity within these works and aims to reveal Warhol's medium and ideology in industrial American society. The paper shows how Warhol merges images of capitalism and mass production into his portraits.
From the Paper
"This was the biographical background for Warhol's interest in images of famous people, since he was obsessed with the way that people could become famous in the mass communications milieu of American culture. The use of photography could now capture a person's image and be broadcast to millions of people nationwide through the television. For icons like Marilyn Monroe, her image could now be processed and manipulated through media exploitation now that it could easily be replicated. In this way, the nightmare of Marx's human devaluation and exploitation of identity within a mass production industrial culture became realized; it was a beautiful dream-come-true for Andy Warhol and his choice of replicating popular icons in American society."
| |
|
Images and Meaning, 2007.
This paper explores Roland Barthes' and Victor Burgin's analysis of photographic images.
1,223 words (approx. 4.9 pages), 3 sources, MLA, AU$ 66.95
»
Click here to show/hide summary
Abstract
The paper presents a comparative analysis of two images from Roland Barthes' Camera Lucida photographic images; Andre Kertesz' "The Violinist's Tune" and Nicephore Niepce's "The Dinner Table". The paper shows how an artist such as Victor Burgin would disagree with Barthes' view that photographs lack codes and would contend that even innocuous images can contain complex ranges of political and ideological codes.
From the Paper
"Barthes' reading of The Violinist's Tune is particularly interesting for it allows us to understand how Barthes conceives of the reading of images as often a highly personalized affair. While he situates his reading in terms of his theoretical apparatus of studium and punctum, it is important to note that his response to this image cannot be precisely determined by this theoretical frame. Barthes defines the concept of studium as a taste or interest in a thing: "a kind of general, enthusiastic commitment" (Barthes 26)."
| |
|
Rococo and Baroque Art, 2007.
This paper discusses the evolution of eighteenth century visual arts.
2,024 words (approx. 8.1 pages), 8 sources, APA, AU$ 103.95
»
Click here to show/hide summary
Abstract
The paper analyzes the evolution of baroque art into the Rococo style of the 18th century. The paper examines the Baroque works of Annabale Carracci and Caravaggio and contrasts them to the work of Rococo artist Antoine Watteau. The paper shows how art evolved into a style that reflected government and new political ideologies in the Age of Diversity.
From the Paper
"The Rococo period as logically been constructed through the humanism and classical values instilled within the Baroque period. The rococo period in Europe reflects the ideological aims of visual art, which became manifest during the time of Voltaire, Rousseau and the American Revolution. Although the American visual arts did not reflect the extravagance of the monarchical pomp of the French courts, it is clear that Rousseau and Voltaire were struggling for a new type of liberation in within what might be called "the Age of Diversity". To truly understand the innovations in style for the Rococo period, one must evaluate the reasons why this form of visual design became realized in the 18th century. Certainly, the Baroque period was a continuation of the logic and reasoning that was instilled in the Age of Enlightenment--via classical design and visual art representations. In this manner, the Baroque period must be compared and contrasted with Rococo art to realize the impact of the highly stylized visual arts that emerged within the 18th century."
| |
|
Children's Books by Maurice Sendak, 2007.
Compares Maurice Sendak's illustrations in her book "Where the Wild Things Are," with her illustrations in "Little Bear's Friends," written by Else Holmelund Minarik.
1,461 words (approx. 5.8 pages), 4 sources, MLA, AU$ 78.95
»
Click here to show/hide summary
Abstract
This paper compares and contrasts the illustrations of Maurice Sendak in two children's books - "Where the Wild Things Are," written by Sendak herself and "Little Bear's Friends," written by Else Holmelund Minarik. The paper begins by describing the role that artists play in picture books and then discusses the importance of the illustrations. The paper also describes how effective the illustrations are in each of these books.
Table of Contents:
Evaluation of "Where the Wild Things Are"
Evaluation of "Little Bear's Friend"
Comparing "Where the Wild Things Are" and "Little Bear's Friend"
From the Paper
"Now, it is time to evaluate the two books and how they are similar or different. Where the Wild Things Are is not only illustrated but also written by Maurice Sendak, while Little Bear's Friend is written by Else Holmelund Minarik. Where the Wild Things Are is larger and has more illustrations than the second book. It also is more colorful than the second book. While there is only a line or two per page in Where the Wild Things Are, the Little Bear's Friend has four to six lines of words. The first book is designed for earlier ages than the second book, but all ages would enjoy looking at the illustrations of the first book. Both books are designed to teach a moral lesson. The first book teaches Max that even though his parents may discipline him they still love him, while the second book teaches a lesson on the importance of friendship. Both of these books compare to other children's books for these ages. The words in both books are age appropriate for four to eight year olds. Younger children will enjoy Where the Wild Things Are more than Little Bear's Friend."
|
|
|
