| Papers [1-16] of 51 :: [Page 1 of 4] | | Go to page : 1 2 3 4 —> | Search results on "ARTIST SCULPTOR": |
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The Artist as Sculptor, 2000.
The following paper looks at Michelangelo's contributions to art and architecture and shows how he has exerted an unparalleled influence on the development of Western art.
2,280 words (approx. 9.1 pages), 9 sources, APA, AU$ 113.95
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Abstract
This paper examines Michelangelo's contributions as a sculptor and painter as well as his work as an architect -- which remains well known -- and as a poet, which is much less well known today.
From the Paper
"Unlike many artists who are not recognized until the very end of their careers -- or perhaps decades or centuries after their deaths -- Michelangelo was considered by his contemporaries to be the greatest living artist in his lifetime, and his reputation has been maintained ever since. There has never been a time when he was not held to be one of the greatest artists of all times and a number of his works in painting, sculpture, and architecture rank among the most famous in existence (Paoletti, 1997, p. 38). "
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Claes Oldenburg, 1999.
Discusses the life and career, major works, influences, innovations and themes of Swedish-American Pop artist/sculptor.
2,700 words (approx. 10.8 pages), 13 sources, AU$ 153.95
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From the Paper
"Claes Oldenburg's sculpture, in which ordinary objects are transformed by radical changes in scale and the use of unexpected materials, has become one of the most widely known bodies of contemporary art work. Oldenburg was one of a number of artists who reacted against Abstract Expressionism's domination of American art in the 1950s. In various ways, these artists returned to the representation of people and objects in their work. But, American artists of the early 1960s did not limit themselves to the subjects favored by older art traditions that had focused on illusionistic replication of the visual world. Instead, artists such as Andy Warhol and James Rosenquist took elements of popular culture--movies, billboards, magazines, commercial products--as their subjects. The new Pop Art responded to the commercialized environment that these artists ..."
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Constanin Brancusi the Artist, 2006.
This paper explores the life, influences and works of one of the greatest artists of the 20th century, Constantin Brancusi.
1,606 words (approx. 6.4 pages), 6 sources, MLA, AU$ 84.95
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Abstract
This paper contains a concise biographical background of artist and sculptor Constantin Brancusi as well as relevant information regarding his more famous works of art, including: "Endless Column" and "Gate of Kiss." The writer of this paper explores Brancusi's intense expressiveness of abstract form as well as his handling of simplistic and basic themes of nature which garnered him much respect and fame as one of the great artists of the 20th century. This paper also details Brancusi's use of stone, wood and metal, coupled with his personal background and contemporary Romanian themes that evidence his social, political and aesthetic ideas to produce works of art that led to his well-earned reputation as a revolutionary modern artist.
From the Paper
"One example of a personal biographical detail that influenced Brancusi's life was his childhood in Tahiti. Although he was born in Craiova, in Southern Romania in 1876, he spent his childhood and youth in Tahiti. He was born into a large peasant family, and the family maintained its poverty throughout Brancusi's childhood. Brancusi did not go to school, but worked as a herdsman, first watching the family flock, then working for other country people in the Carpathian Mountains. Here, he learned to carve wood by fashioning tools and implements, through a popular art form making spoons, bedposts, or cheese presses, all of which were ornamented with carvings, but also for making the facades of homes."
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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$ 127.95
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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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The Cycladic Era and French Sculptors, 1999.
Examines the works of the pre-Greek era ("Harpist") and of Pierre Le Gros ("Saint Thomas") and Auguste Rodin ("The Burghers of Calais") and their cultural/historical significance.
2,025 words (approx. 8.1 pages), 6 sources, AU$ 114.95
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Abstract
"Sculpture is an expression of the world reshaped in wood, stone, or some other material in three-dimensional form. Sculptors express themselves differently in this form of art in different times periods. Sometimes sculptors are reflecting community concerns and using these materials as a form of magic or religious expression and sometimes as a personal expression of deep-seated views of how humans relate to the world.
From the Paper
"Sculpture is an expression of the world reshaped in wood, stone, or some other material in three-dimensional form. Sculptors express themselves differently in this form of art in different times periods. Sometimes sculptors are reflecting community concerns and using these materials as a form of magic or religious expression and sometimes as a personal expression of deep-seated views of how humans relate to the world. Early sculpting tended to have a magical element, as in ancient fertility images to encourage the having of children, or in images of heroes in later eras to encourage others to have courage as well.
The Cycladic or pre-Greek era is represented at the Getty Museum in California by a number of works, such as the Greek island marble figurine "Harpist," from about 2500 B.C. This is ..."
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Italian Renaissance Sculptors, 1999.
Analyzes early 15th Cent. works, subjects, aesthetics, themes, styles and major artists (Donatello & Ghiberti).
2,475 words (approx. 9.9 pages), 9 sources, AU$ 140.95
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From the Paper
"In relief sculpture created by Florentine artists in the period 1400-1430 many of the most significant advances of Renaissance art were initiated long before painters took them up. In the works of Donatello (c. 1386-1466) and Lorenzo Ghiberti (c. 1381-1455) the antique became an important source of inspiration and the use of artificial perspective was introduced. Relief sculpture is a sometimes neglected aspect of the general subject of Renaissance sculpture. Because the appearance of freestanding statues in the fifteenth century is one of the most significant results of the renaissance of classical ideals in Italy, other types of sculpture tend to receive less attention. Yet, primarily through the efforts of Donatello and Ghiberti, much of the relief sculpture of the first decades of the Quattrocento was as forward-looking as anything produced in the other mode. This.."
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The Life and Works of Donatello, 2002.
Examines the innovations of this early Renaissance artist.
1,900 words (approx. 7.6 pages), 3 sources, AU$ 114.95
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Abstract
This paper examines the works of the Renaissance sculptor Donatello as an artist in his own right, rather than as a precursor to the innovations of artists who followed him. There is an emphasis on Donatello's work as a realist, where he draws from the fall of Rome, rather than as a humanist as were most Renaissance artists.
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The Davids, 2002.
A paper which studies and compares the two Davids of the Renaissance period, by sculptors Michelangelo and Donatello.
1,550 words (approx. 6.2 pages), 5 sources, MLA, AU$ 81.95
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Abstract
The paper shows how beginning around the early 15th century, the Italian Renaissance (1420-1600) was a culmination of Italy?s ?rebirth? within their culture ? which included artistic focus and style. The writer of the paper examines two of the most influential sculptors of their Renaissance times - Donatello, and Michelangelo. He shows how both sculptors were commissioned to create their interpretation of the Biblical David. While the two share some similarities, both pieces are strikingly different from the medium in which they were sculpted to the artist?s use of realism. The paper discusses the Renaissance period as a background to these works of art.
From the Paper
"Michelangelo?s David also follows the Renaissance style of increased realism, humanism and return to Greco-Roman traditions. His sculpture came during the time period labeled ?High Renaissance?, which was the later period of the Renaissance. Michelangelo was given a thirteen and a half foot block of marble to sculpt David out of, which interestingly had been hacked on by another artist already! In essence, the block was used ? a remnant of sorts. (Bloem) From this enormous block of marble came one of the most famous and breathtaking sculptures of all time. David, unlike Donatello?s interpretation, is seen before the fight with Goliath. His body is poised, ready for the fight. The anatomical detail is superb on this sculpture. As the Renaissance went from the Early period to the High period, the artists paid even more attention to detail in anatomy, which is reflected by Michelangelo?s David."
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Michelangelo's David, 2002.
This paper is an in-depth look at the life of the artist, Michelangelo Buonarroti.
1,655 words (approx. 6.6 pages), 8 sources, AU$ 86.95
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Abstract
This paper examines the life and times of Michelangelo and the influence his works had on the Renaissance. Particular attention is given to the sculptor "David" that was completed in 1501 and became a symbol of the Italian city of Florence. The other artists of the period are also examined and their works are compared to Michelangelo's in order to give us a thorough understanding of the Renaissance period.
From the paper:
"Michelangelo embodied many characteristic qualities of the Renaissance. He was an individualistic and a highly competitive genius. Michelangelo was not afraid to show humanity in its natural state - nakedness; even in front of the Pope and the other religious leaders. Michelangelo portrayed life as it is, even with its troubles. He wanted to express his own artistic ideas. When Michelangelo created his sculpture of David he took in consideration the qualities of the Renaissance as well as his own qualities, which had been shaped by his background."
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Peter Voulkos, 2005.
Biographical account of American clay sculptor Peter Voulkos who died in 2002.
858 words (approx. 3.4 pages), 4 sources, APA, AU$ 49.95
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Abstract
This paper provides biographical information on the life and artistic career of Peter Voulkos. The also paper looks at Voulkos's artistic style and explains how it capitalizes on the qualities of the clay itself. Furthermore, the paper describes some of the influences on Voulkos's art, analyzes some of his more famous sculptures, and explains the significance of his work to other sculptors.
From the Paper
"Peter Voulkos, a clay sculpturist who died in 2002, was important because he brought clay forward as an artistic medium in its own right. Until Voulkos demonstrated the art of clay, people tended to think of ?pottery? as either functional ware, a craft, or a tool for ?real? artists such as bronze sculptors. The movement he started came to be known as the American ?clay revolution.? (Chattopadhyay, 2001)"
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Medici Family, 2005.
A discussion of the art patronage of the Medicis during the Baroque period.
2,875 words (approx. 11.5 pages), 8 sources, MLA, AU$ 137.95
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Abstract
The history of the Medici family in Italy clearly illustrates the difference between a true patron and a collector of fine art. This paper explains that with the collector, new artistic movements are, at times, very difficult to locate, which inevitably leads to the collector amassing works of art based on certain styles and motifs or even specific painters or sculptors from various artistic periods. The writer points out however that with the patron, such as Cosimo I and Lorenzo the Magnificent in the Renaissance and Cosimo III and Cardinal Leopoldo in the Baroque era, the almost in-born desire to vigorously encourage the development and spread of fine art is without competition, for the patron is truly the purveyor of artistic history, at least in western civilization.
From the Paper
"Of course, when the Medici family did finally expire in the mid 18th century, the great artists, such as Michelangelo, Da Vinci, Brunelleschi and Bernini, had also expired and their successors, although very talented and inspirational, did not possess the genius of these men which may help to explain why patronage itself waned after the Baroque era. In addition, it could be said that without the Medici family and its enormous wealth and prestige the Renaissance and Baroque eras might never have existed. Thus, the Medici, along with other prominent art patrons, allowed for the formation of several outstanding art periods which not only helped to create and foster great talent but also made it possible for the common, everyday man or woman to gaze in awe at their works of wonder and contemplate the very nature of their creators and those that supported them without question or authority."
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Arab-Americans, 2004.
This paper discusses the Arab-American ethnic group and culture.
1,750 words (approx. 7.0 pages), 13 sources, MLA, AU$ 90.95
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Abstract
This paper explains that many of the nearly three million Arab-Americans are making an effort to reclaim and preserve their heritage. The author points out that Arab-Americans, including those born in the United States and recent immigrants from Arab nations, demonstrate the highest degree of ethnic pride as compared to other ethnic groups, with ninety percent of the population showing such pride. The paper reports that, most often, the Arab-American population displays its pride, heritage, and culture within the arts; the paper notes several Arab-American painters, sculptors, writers, and other artistic specialists.
From the Paper
"This vast population of both immigrants and native-born Arab-Americans lives all over the United States. However, the most concentrated area of Arab-American settlement is in southeastern Michigan. In particular, the city of Dearborn holds many Arabic centralized neighborhoods. In Dearborn, twenty percent of all the population and over forty percent of students enrolled in the public school system are Arab-American."
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Athena, 2002.
A look at the Greek Goddess Athena and her place in Greek mythology, life and art.
2,650 words (approx. 10.6 pages), 6 sources, AU$ 157.95
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Abstract
This paper will look at the Greek goddess Athena and her special place in Greek mythology. She was especially revered both in real life and in mythology, particularly by Homer, as we shall see. In preparing this paper, I looked at a number of representations of the goddess and will discuss them in some detail. Depending on the sculptor or the artist, she is depicted in any number of different ways.
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Laszlo Moholy-Nagy, 2002.
A biography of famous Eastern European artist, Laszlo Moholy-Nagy.
3,410 words (approx. 13.6 pages), 10 sources, MLA, AU$ 155.95
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Abstract
Laszlo Moholy-Nagy is widely considered to be one of the twentieth century?s most important and influential artists. This paper discusses him as a photographer, painter, designer, writer, sculptor printmaker, film-maker and teacher. It shows how his influence reached into many aspects of the arts, from his native Eastern Europe, to the Western part of the Continent, across the Atlantic to the United States. The paper also explains how Moholy-Nagy was an important figure in the Western European Constructivism movement.
From the Paper
"Moholy-Nagy was born in 1895 in Baac?s-Borsod, Hungary. He left school in Budapest to fight in World War I in 1916. It is during the war that he began sketching and taking his work as an artist seriously. In 1917, while recovering from a wound, he founded the artist group MA and started a literary magazine called ?Jelenkor?. In 1919 he moved to Vienna. It was there he began to make photograms and collages."
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Cubism and Sculpture, 2004.
A discussion of the artistic style and movement known as Cubism.
2,028 words (approx. 8.1 pages), 22 sources, APA, AU$ 103.95
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Abstract
This paper explains how Cubist painters and sculptors rejected many of the formally accepted elements of art in favor of ambiguous and indeterminate representations of art. The paper also describes the unique characteristics of Cubism and takes a look at the importance of the Cubist movement, its influence on modern art, the philosophy behind the movement, and some of the more famous Cubist artists.
From the Paper
"Cubism was a philosophy and style of art that also questioned all established values of art. It also ?created an artistic language of intentional ambiguity?. (ibid) In order to understand Cubist sculpture beyond just its formal and technical innovations, it is important to understand something of the background to the modernist era of artistic re-evaluation."
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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$ 44.95
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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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