| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "EDGAR DEGAS": |
|
|
An Analysis of Two Paintings by Edgar Degas and Charles Peale., 2002.
This paper analyzes "The Peale Family" painted by Charles Wilson Peale (1773 &1809. The New York Historical Society) and "The Bellini Family" painted by Edgar Degas (1859. Musee d'Orsay).
900 words (approx. 3.6 pages), 2 sources, AU$ 37.95
»
Click here to show/hide summary
Abstract
This paper uses the strategies that are part of critiquing in the book "Humanities through the Arts" by F. David Martin and Lee Jacobus. Paris). The author praises "The Peale Family" painted by Charles Wilson Peale, but "The Bellini Family" painted by Edgar Degas, although beautiful in its own way, is subjected to conflicting criticism. The paper explains that, by observing the line, color, and artistic agenda of each of these painters, we can critique them along the guidelines offered by Martin in his book.
| |
|
Burne-Jones And Edgar Degas' Paintings, 2002.
A comparison of two paintings by artists Burne-Jones (pre-Raphaelite) and Edgar Degas (realist).
900 words (approx. 3.6 pages), 7 sources, AU$ 37.95
»
Click here to show/hide summary
Abstract
This paper compares a painting by Pre-Raphaelite British artist Burne-Jones with an important work by Realist, Edgar Degas. Both paintings appeared in 1860-1970 decade and have something important to say about that era and the two painters.
| |
|
Edgar Degas, 2002.
A review of the work of the Impressionist painter Edgar Degas.
898 words (approx. 3.6 pages), 2 sources, MLA, AU$ 33.95
»
Click here to show/hide summary
Abstract
This paper examines the art of Edgar Degas, a French Impressionist painter noted most for his ability to portray motion and sponteity in his work. It discusses how one of his favorite subjects to paint was dance and how his obsession with the female form drove him to become more skilled at painting dancing woman than anyone before or since. It looks at how none of his paintings were ever comissioned and he preferred to paint women going through the moments of daily life, unaware of the candid insights of voyeuristic beauty to be gained from their skilled observation.
From the Paper
"Degas has captured young ballerinas of the Paris opera house at their most natural, when they are practicing unselfconsciously behind the scenes, not performing for the public. The ballet dancers resemble a sequence in a movie, all of the same fascinating for their totally innovating cuts, for the decentralized pagination, for the unusual angularity: in this sense, it is evident the influence from the orientalism, highly fashionable at his time, and from Japanese prints, of which Degas was a fond collector. "
| |
|
Edgar Degas, 2002.
This paper discusses Edgar Degas, an impressionist artist whose artwork revealed a concern for the psychology of movement, expression, harmony of line and continuity of curves that distinguished him from all the other impressionist painters.
855 words (approx. 3.4 pages), 5 sources, MLA, AU$ 32.95
»
Click here to show/hide summary
Abstract
This paper explains that, although Deges was connected with the impressionists, he never was fascinated like others were by the influence of natural light and thus did most of his work inside his studio only. The paper continues that his paintings depicted ballet, horse racing, the theater and circuses, which gave the idea that his work stemmed from the humanistic experience. The author points out that Degas' favorite subjects were scenes from the world of entertainment, the daily life of women, ballet dancers, horse races and young ballerinas.
From the Paper
"Degas was captivated and influenced by a study of Japanese prints of which style appeared to be in his later work. He drew on the Japanese idea of asymmetrical design as an object to set the subject to the side of a painting. For example, one of his paintings made in 1865, depicted a Woman with Chrysanthemums (exhibited at Metropolitan Museum of Art, New York City) where the female subject is pushed into one side by a bouquet of flowers."
| |
|
Edgar Degas and Mary Cassatt, 1994.
An evaluation of the Impressionist works and personalities in a cultural context with gender biases, styles and influences.
1,350 words (approx. 5.4 pages), 5 sources, AU$ 50.95
»
Click here to show/hide summary
From the Paper
"Mary Cassatt is one of the less well-known of the Impressionist painters. Edgar Degas, her mentor, was one of the most important of the artists who participated in the Impressionist movement and who exhibited his paintings at Impressionist exhibitions. In many ways both were very different from other artists identifying themselves with this movement. Degas was one of the most helpful to other painters, including Cassatt, whom he also painted. The careers of these two painters are each somewhat out of the ordinary for the time and reflect different experiences, in part with differences based on gender.
There were four women classified as Impressionists--Berthe Morisot, Marie Bracquemond, Eva Gonzales, and Mary Cassatt. These four were very different artists, each of whom related to the artistic and political debates of her time in her own..."
| |
|
Degas and Hyper-sensuality, 2006.
This paper discusses the aspect of hyper-sensuality present in Edgar Degas' work.
1,125 words (approx. 4.5 pages), 2 sources, AU$ 47.95
»
Click here to show/hide summary
Abstract
In this article, the writer looks at the concept of hyper-sensuality as it is portrayed in the artistic work of Edgar Degas. The writer refers to Degas' famous painting 'Le Etoile' and describes a variety of possible responses from the audience. As this essay argues, the erotics of hyper-sensuality are central to an appreciation of Degas' achievement in this work.
From the Paper
"The creation of hyper-sensuality in artistic media can take many forms depending upon the medium and the interests of the artist. In the case of Edgar Degas' celebrated painting L'Etoile or "Star" (1876-1877) the artist stimulates an array of multiple sensual responses ranging from the primary visual nature of the image, to its auditory musical resonances, to the intense eroticism of the female form for its presumably male audience."
| |
|
Degas: A Study of Focus on Gender and Class, 2002.
This paper discusses the interaction between two themes in the paintings and drawings of Edgar Degas. The first is the study of form and shape, primarily of women. The second is his attitude towards the socioeconomic class of his subjects.
1,053 words (approx. 4.2 pages), 5 sources, MLA, AU$ 38.95
»
Click here to show/hide summary
Abstract
The writer argues that, because of Degas' upbringing in a family attempting to appear as nobility, he became interested in "class." Commentary on class structure was a deeply engrained part of the art world at the time that Degas was in the forefront of the field.
From the Paper
"The later work of Degas began to concentrate on women in the bath, either actually washing, or getting in and out of various tubs. This was a focus on the female body in its most pure form. The fascination he had always shown with women was now given free reign, without clothing or background to complicate his work. It is interesting, though, to note that his interest in class, as well as gender, was still represented. The bathing woman has been separated from most of the social and cultural cues that give the viewer information as to her background. This is another way that Degas demonstrated that his interest in the female form cut across class boundaries."
| |
|
Artists of the Impressionist Period, 2006.
This paper presents thumbnail sketches of six Impressionist artists: Claude Monet, Eduardo Manet, Pierre-Augusta Renoir, Edgar Degas, Mary Cassatt and Camille Pissarro.
835 words (approx. 3.3 pages), 8 sources, APA, AU$ 31.95
»
Click here to show/hide summary
Abstract
This paper explains that Claude Monet was the leader of Impressionism; his "Impression: Sunrise" painted in 1872 gave the term Impressionist to this group of painters who followed the style of Eduardo Manet. The author points out that Mary Cassatt, the only American and woman of the movement, painted scenes of people engaged in ordinary daily activities. The paper relates that the last true Impressionist Camille Pissarro inspired Post-Impressionist painters such as Matisse and Cezanne.
Table of Contents
Introduction to the Impressionist Period
Claude Monet: The Movement's Pioneer
Eduardo Manet: The Movement's Inspiration
Pierre-Augusta Renoir: Using the Movement to Move to His Own Style
Edgar Degas: Representing Movement and the Working Class
Mary Cassatt: The American and the Woman of the Movement
Conclusion: Camille Pissarro: The Last Official Impressionist
From the Paper
"Photography was invented in the 19th century. The Impressionist artists wished to bring a new element to art. They wished to show the artist's inner life. They believed that simply showing what existed 'in life' was not enough to justify the further existence of art. The Impressionist movement began in France, the heart of the art world of a late 19th and early 20th century Europe. "Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. Characteristics of Impressionism were an attempt to accurately and objectively record visual reality in terms of transient effects of light and color." "
| |
|
Alienation in Art, 2002.
An analysis of alienation in three works of art (by Edgar Degas, Edward Hopper and George Segal).
1,150 words (approx. 4.6 pages), 4 sources, AU$ 47.95
»
Click here to show/hide summary
Abstract
This paper will discuss alienation in three works of art. The works analyzed are: Edgar Degas, "The Glass of Absinthe," of 1876, Edward Hopper, "The Nighthawks," of 1942 and George Segal, "Walk, Don't Walk," of 1976. In revealing the essence of loneliness in these paintings, we can see how they tell us of the alienation that these works of art behold. The way they were painted and the objective views of alienation will be discussed in relation to their creation.
| |
|
"Dancers in Pink", 2007.
An analysis of the techniques employed by Edgar Degas in his painting "Dancers in Pink."
1,379 words (approx. 5.5 pages), 8 sources, MLA, AU$ 49.95
»
Click here to show/hide summary
Abstract
This paper analyzes the painting "Dancers in Pink," painted by Edgar Degas in 1878. The paper describes the compositional structure of the painting and how it appeals aesthetically to the viewer. The paper then goes on to discuss the synthesis between form and color in the entire work and how they enhance the overall painting. The paper concludes by describing the use of paint and the technique of paint application, as well as Degas' choice of hues and tones.
From the Paper
"This experimentation with painting technique can be seen in the different method of paint application work. Some areas in the dresses of the two main figures are thinly painted, possibly diluted with turpentine, while others seem to be more impasto-like in their quality. It is the use of washes over thick paint that, especially in the skin tones, provides the feeling of tactile sensuality. It seems as if the pink and orange has been painted over an underlayer of flesh tones, which can just be seen beneath the rich folds of the dresses. The brush strokes also vary throughout the painting, with smoother and crisper brushwork in the dresses and figures and rougher, more 'sketchy' brushwork in the background and in the smaller figures."
| |
|
"After the Bath", 2005.
This paper discusses in detail Edgar Degas's "After the Bath," with respect to his stylistic choices.
1,748 words (approx. 7.0 pages), 7 sources, MLA, AU$ 60.95
»
Click here to show/hide summary
Abstract
This paper discusses the subject matter and analyzes formal elements such as composition, line, texture, mass, and volume. It questions how Degas used color and light in this painting; how he organized design principles of balance, rhythm, and proportion; and whether this painting is telling a story or just simply a snippet into the reality of the subject like a photograph? Other questions include what symbolism and imagery is evident in the painting, how effectively the artist used the materials and formal elements to create a particular impression or illustrate a theme, whether Degas was successful, and what did this painting mean to him?
From the Paper
"I chose a work by Degas because I believe that for his time, he was an innovative thinker. Many art experts place his work amongst that of the Impressionists. Like some, I believe he was at the tail end of this movement, focused less on light and subdued choice of color and focused more on his subject's movement. This is not to say that he did not use light and color to convey his message. In fact Anthea Callen writes: "Degas' culture made it inevitable that he represent masculine desire and anxieties about masculine identity evoked by such desire through an apparently detached masculine scrutiny of the female body" (6). It is because of his blatant obsessions that such passion can be revealed to the viewer. His intensity is apparent throughout his depth of work and his critical way of pushing the envelope reflects his pursuit of "the great Neoclassicist's linear perfection" (Hartt, 850). According to the art historian Hartt, "Degas defined the goal of his own style succinctly as 'bewitching the truth'" (851)."
| |
|
Impressionist Painters, 1995.
This paper discusses Impressionist: Motivations, styles, major works, gender & cultural factors and relationships of Berthe Morisot, Mary Cassatt, Jean Renoir, Claude Monet, Edgar Degas and others.
3,375 words (approx. 13.5 pages), 6 sources, AU$ 127.95
»
Click here to show/hide summary
From the Paper
"The "First Ladies" of the French Impressionist movement were undeniably the Frenchwoman Berthe Morisot (1841-95) and the American expatriate Mary Cassatt (1944-1926). They were also, by reason of default, the "second," "third" and "fourth"-tiered women of Impressionism as well - for there were no other female Impressionists of note, despite the fact that one or two other women had associations and hangings with the movement's acknowledged inner-circle of males: Pierre-Auguste Renoir (1841-1919), Claude Monet (1840-1926), Camille Pisarro (1830-1903), Edgar Degas (1834-1917) and (by others' judgement if not his own) Edouard Manet (1832-83). By default or not, Morisot and - to a much larger degree - Cassatt stand firmly in the midst of that company of gentlemen because they were good at their art, not by any condescension on the part of either critics or ... "
|
| Essay # 66486 |
temporarily unavailable
|
|
|
|
J. Edgar Hoover, 2002.
This essay is a look at the life and legacy of FBI director, J. Edgar Hoover.
2,600 words (approx. 10.4 pages), 6 sources, AU$ 83.95
»
Click here to show/hide summary
Abstract
This paper is a biographical overview of J. Edgar Hoover and his role as director of the FBI. The author details his five decades of reform, power and how he abused it. The paper also examines his controversial personality and lifestyle.
From the paper:
"The life and legacy of J. Edgar Hoover is a subject of countless books, files and theories. Rumors surrounding this man run rampant. He single-handedly created the FBI we know today, but through a scheme of illegal and amoral activities. Hoover was the most effective and powerful director of the FBI, from 1924 to 1972. He created the FBI as a separate and distinct faction of the Department of Justice, and garnered public support for his activities. He fought communism, espionage, foreign sabotage, and organized crime. Ruthless in his ways, cunning in his schemes, Hoover's influence on past and current laws and enforcement goes unchecked and unmatched by any other."
| |
|
The Darkness Within: Imagining Edgar Allen Poe, 2002.
A review of the theme of darkness in the novels "The Fall of the House of Usher", and "The Pit and the Pendulum" and the poem "For Annie" by Edgar Allen Poe.
2,400 words (approx. 9.6 pages), 13 sources, AU$ 94.95
»
Click here to show/hide summary
Abstract
This paper explores two stories by Edgar Allen Poe, "The Fall of the House of Usher", and "The Pit and the Pendulum". These stories are considered in relation to a poem Poe wrote called, "For Annie", a verse written for a friend of his, Annie Richmond. The theme of this paper is about "darkness," where darkness is a metaphor that imbues Poe's horror stories with themes of consciousness and experiences with terror. Because Poe was especially interested in the susceptibility of the imagination, this paper attempts to "imagine" Edgar Allen Poe in relation to varying metaphors of darkness that characterize the author's life and literature.
| |
|
Henry and Edgar Poe: One Poetic Voice, 2001.
A look at Edgar Allan Poe's connection with his brother Henry and how it influenced his poetry.
3,340 words (approx. 13.4 pages), 12 sources, AU$ 101.95
»
Click here to show/hide summary
Abstract
This paper presents an overview of the poetic relationship between the Edgar Allen Poe and his brother, Henry, and how that is reflected in Edgar Poe's poetry.
From the Paper
In late October of 1829, Edgar Poe wrote one of his most revealing letters to his friend and confidant John Neal, editor of the Yankee magazine of Portland, Maine, in which he declares "there can be no tie more strong than that of brother for brother. . . their affections are always running in the same direction-the same channel and cannot help mingling." These "affections" generally concern the familial ties of Henry and Edgar Poe, but a deeper interpretation lies within the kinship associated with their poetry composed between 1827 and 1831, a consociation infused with states of extreme melancholy, a fascination with the dead and lucid dreaming which conveys "a collaborative attempt to give their kindred feelings a single voice."
|
|
|
