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Greek Art and Sculpture, 2002.
An analysis of how nudity was a fact of ancient Greek daily life and how the art--statues-- reflected the Greeks? acceptance of it.
1,828 words (approx. 7.3 pages), 20 sources, MLA, AU$ 84.95
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Abstract
The following paper examines how all Greek sports, even the Olympic events, were performed in the nude. This paper examines how nudity in and of itself wasn?t the purpose of the art, but was used to best represent the images. The writer explores how women were banned from the Olympics because it was held in a sacred area. This paper also explores how the the nudity in sports gave sculptors a reason to study the human body more closely, and its proportion and movements. The writer traces back early attempts to capture the human form and examines how over time, nude sculptures became smoother and more realistic, while still adhering to the quest for the ideal.
From the Paper
"Even though sculptors eventually worked out the proportions in their work. the Greeks were not known for experimentation with style. Once they found an image that was pleasing, they tended to stick with it. The typical male statue, the Kouros style, had a very distinct pattern that was followed: ?The figure stands erect and strictly frontal with his left leg advanced, his arms tense at his sides with fists clenched. Details are represented with strength and simplicity. The eyes are big and almond-shaped, the ears large and so carved as to form a kind of decorative adjunct; the essential parts of the body are clearly defined and subject to an established canon of proportions, while muscles and bones form surface patterns on the marble. The work already has those qualities of grandeur and proportion which characterize all the best Greek sculpture throughout its history.? (Carver) The male form was the highest level of ideal beauty."
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Greek Art, 2002.
An analysis of the ancient era of Greek art, focusing on sculptures and paintings.
878 words (approx. 3.5 pages), 3 sources, MLA, AU$ 45.95
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Abstract
This paper briefly examines the history of ancient Greek art. It focuses on several periods - Archaic Period, Early Classical Period, Golden Age, Late Classical Period and Hellenistic Period. Different types of art forms are discussed and examined how they developed during these periods. The influence of other cultures on Greek art is also analyzed, namely Middle Eastern and Egyptian.
Outline
I. Introduction
A. History
B. Cultural influence
II. Archaic Period (600-480 B.C.)
A. Egyptian influence
B. Middle Eastern influence
III. Early Classical Period (480-450 B.C.)
A. New humanism led to balanced human form
B. Marble and bronze figurines
IV. Golden Age (450-400 B.C.)
A. Temples of the Athenian acropolis
B. Parthenon sculptures
V. Late Classical Period (400-300 B.C.
A. Expression of emotion
B. Individualization and three-dimensional movement
VI. Hellenistic Period (323-31 B.C.)
A. Nike and Aphrodite
B. Terra-cotta figurines
VII. Conclusion
A. Importance of masterpiece copies
B. Influence of Greek culture
From the Paper
"The earlier great cultures of Egypt and the Near East were making art long before the Greeks and much of the early Greek art looks Egyptian, with its stiff and profiled poses and boxy geometric designs. Moreover, the Greeks borrowed the ideas, motifs, conventions, and skills from these earlier civilizations (Tansy 1996). However, it was the Greeks who made the leap into naturalism and in their representations of the human body created an ideal of perfectly balanced proportions that has never been improved upon. Although, we often speak of Greek and Roman in the same breath, the greatest accomplishments of Greek art were five centuries old by the time the Romans began to copy them. "
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Greek - Renaissance Art, 2007.
This paper compares and contrasts the sculpture 'Apoxyomenos' by Lysippos with Michelangelo's 'David'.
880 words (approx. 3.5 pages), 4 sources, MLA, AU$ 45.95
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Abstract
In this article, the writer looks at Greek art through the work of sculptor Lysippos and compares it to the Renaissance art of Michelangelo. The writer discusses that the figure of Apoxyomenos clearly served as inspiration for future human sculptures. In comparison, the writer points out that Michelangelo went many steps further to create figures like David which express truly realistic human appearances and emotions. The writer comments that Lysippos clearly revolutionized Greek art by giving to his works a true third dimension. In contrast to Lysippos' Apoxyomenos, Michelangelo's David, perhaps the most astonishing piece of free-standing sculpture ever produced in Western art, truly represents the human form in all its beauty and proportion.
From the Paper
"One was the new canon of proportions which replaced the Polykletian canon and reflects a change in taste noticeable in all other Greek artforms. For this new canon, Lysippos created a slender, supple and tall figure, realized as if moving in true space in three dimensions. Thus, this figure moves in a kind of freeform arena through the space around it and was designed to be viewed from a number of angles.
Also, the arms of this figure curve forward, an indication that the sculptor was attempting to show the athlete reaching and twisting in actual space. The rather small size of the head is thrown into a stronger perspective by the large hand interposed between it and the viewer."
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Greek Art, 2004.
A discussion on the role of art in ancient Greece.
690 words (approx. 2.8 pages), 4 sources, MLA, AU$ 34.95
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Abstract
This paper contends that for ancient Greeks, perfection existed in the natural world, a world that had been created by the gods. It explains the task of the artists, therefore, was not to improve on nature, but to attempt to capture and preserve the beauty that surrounded them. It highlights that this basic philosophy informed all genres of Greek art during the classical era and was especially evident in Greek sculpture.
From the Paper
"For Greeks, perfection existed in the natural world, a world that had been created by the gods who were themselves perfect and who had imbued the world with a harmony that was just and right. The world was in and of itself perfect and the task of the artist was ..."
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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$ 116.95
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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."
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Classic Greek Sculpture, 2004.
Examines two sculptures that represent the Classic period in Greek art history.
2,258 words (approx. 9.0 pages), 3 sources, MLA, AU$ 100.95
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Abstract
This paper first begins with an overview of Greek sculpture, showing how it is intertwined with Greek culture and history. It then describes two pieces, which are characteristic of this type of art, "Relief with a Dancing Maenad? and "Grave Stele of a Girl with Doves?, both of which are at the Metropolitan Museum of Art.
From the Paper
"Softness is given to the figure through the detailed curves and ripples in her hair as it flows down her head and neck. The subject?s obvious youth contrasts with her air of wisdom and sad acceptance to lend the sculpture a haunting quality, pathos. There is a feeling of restraint and control, which is commonly manifested in Classical Greek art. It however differs in that there is a distinct sense of sadness along with the calmness typical in Greek carvings."
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Greek Sculpture, 2002.
A study of the history of classical Greek sculpture.
1,050 words (approx. 4.2 pages), 5 sources, MLA, AU$ 52.95
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Abstract
The Greeks honored the gods through sculptures. This paper examines the triumphs and advances of Classical Greek sculpture during the different periods in Greek history.
Outline
Introduction to Classical Greek Sculpture in Historical Perspective
Transition from Archaic Period to Early Classical (ca. 480 BCE) favoring Contrapposto over Koroi.
High Classical Period (450-430 BCE) Symbolized by Athenian Acropolis.
Late Classical Period (430-323 BCE), between Peloponnesian War and the Death of Alexander the Great,
Conclusion: Hellenism Marked by Influence of Alexander the Great?s Travels.
From the Paper
"Rigid kouroi and kourai softened into the marble marvels of the works of Phidias and Polycletius. The pursuit of perfection was itself honed like the artists? bronze and stone palettes as larger-than-life statues graced majestic monuments and temples. Increasingly realistic bodies, viewable from all possible angles, epitomize Classical Greek sculpture. The Archaic period preceding it demonstrated the Greek values of perfection and symmetry; these qualities were held under scrutiny during the following centuries. Close scrutiny of the human form in action and as a stationary body yielded tremendous improvements in the effectiveness and accessibility of sculpture during the Classical Age of Greece. "
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Greek Sculpture, 2002.
An exploration of Greek Sculpture in the 4th century BCE with an emphasis on the work of Praxiteles and Lysippos.
1,150 words (approx. 4.6 pages), 4 sources, AU$ 64.95
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Abstract
This paper will explore the innovations and aesthetics of Greek sculpture of the fourth century B.C.E.. Beginning with a discussion of the styles of Greek sculpture in the preceding century, the radical changes that were introduced into artistic design by artists of the fourth century B.C.E. will be outlined. Particular attention will be paid to two of this century's greatest artists: Praxiteles and Lysippos. Their influence upon both contemporary and later sculpture will be discussed through an analysis of later Roman copies.
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Egyptian, Greek and Roman Sculpture, 2002.
A comparison of Egyptian, Greek and Roman culture through sculpture.
905 words (approx. 3.6 pages), 4 sources, MLA, AU$ 47.95
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Abstract
This paper examines how a society?s ideals are reflected in its sculpture, through the example of comparing Egyptian, Greek and Roman Sculpture. The author describes the characteristics of these societies as seen through their art and that their sculptures are a reflection on the perspective on the same world.
From the Paper
"Different cultures see the world in different ways. Religion, society, and even politics, shape our views, and give form to our human environment. Architecture, music, literature, dress ? all are visible manifestations of a people?s values. This is no less true in the realm of sculpture. A religious people will create works of art that express its most deeply held spiritual beliefs; a cerebral people, sculptures that capture humankind?s highest ideals, while the politically minded turn out statues and busts that represent their world?s movers and shakers. Styles can range from the formal and the symbolic, to the ideal and the real. Each serves its cultural purpose. As all peoples have done, the Egyptians, the Greeks, and the Romans produced sculptures that testify to the beliefs of their respective societies."
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Greek Sculptures, 2003.
A comparison of two Greek sculptures: The "Nike of Samothrace" and the "Three Seated Goddesses" of the Parthenon.
1,807 words (approx. 7.2 pages), 2 sources, MLA, AU$ 84.95
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Abstract
This paper provides a thorough comparison of two pieces of art. It compares and contrasts them ,not only on their aesthetic properties, but also their historic and symbolic value.
From the Paper
"Of all of the ancient cultures, few are as compelling as the Greeks. Their relatively short lived culture has had a larger influence on its modern counterparts than any before or after it. They gave us grounding in our architecture; very few of our government buildings don?t borrow something from Greek architecture, especially in the use of columns, and the golden ratio, developed by Eucliud, is still a common fall back for many designers. The political philosophy of Greece also continues to inspire us. As the first truly successful democracy, their ideas on court and jury systems, as well as the fundamental ?on man, one vote? practice, can be seen in our everyday lives. Most importantly, Greek art transformed all art in the world forever after. Though we don?t encounter many examples of it in our everyday lives, current art is owed much credit to the Athenians and their kin. Greek art took leaps and bounds in just a couple hundred years, especially in the area of sculpture. Huge changes in the way cloth and drapery was represented as well as the change to more natural poses of human figures took place at this time. Two wonderful examples of these modernizations were the Three Seated Goddesses of the Parthenon and the Nike of Samothrace, which are so alike at first glace, yet are such opposites on any deeper level. They are practically identical in technique, yet their themes and other subtle qualities differ in many ways."
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Praxiteles' Sculpture "Aphrodite of Knidos", 2000.
A discussion on thy this statue is considered the apotheosis of Greek sculpture.
1,261 words (approx. 5.0 pages), 15 sources, AU$ 61.95
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Abstract
This paper presents an overview of the one particular sculpture by the ancient Greek master, Praxiteles. The paper includes illustrations.
From the Paper
"The entire beauty of the earth has been preserved by the many forgeries that attempted to capture the genius of Praxiteles. He set the standard for later depictions of the goddess. Roman copies are often criticized for not portraying the form's magnificent presence. The classical Greek sculpture, Aphrodite of Knidios, changed the way women were denoted in future artworks. The visual representation of the goddess of love and beauty provided the ancient world with a positive view of female sexuality."
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Sculptures, 2002.
An art appreciation paper about two sculptures - Brancusi?s "Golden Bird" and the 8th century statue of a "Bodhisattva".
2,158 words (approx. 8.6 pages), 5 sources, MLA, AU$ 97.95
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Abstract
This paper discusses the two works of art - both of which are on display at the Chicago Institute of Art - as examples of sculpture although their creation is separated by 13 centuries. It looks at their differences and their similarities. The paper includes a picture of each sculpture as well as essential facts.
From the Paper
"Indeed, it is the differences in these two works that are more glaring than their similarities. The bodhisattva is a religious icon. It has extremely practical uses in Buddhist worship. It also acted as a sort of moral compass for its viewers; bodhisattvas were beings who had almost achieved enlightenment and could have attained nirvana, but their feelings of charity have caused them to stay in the world and attempt to help others achieve Nirvana. As a result, the bodhisattva provides an image of what a charitable being looks like. In this sense, the bodhisattva, although a beautiful work, has a moral and religious dimension that is as primary as its aesthetic appeal. Also, the statue was created according to strict rules of tradition, with little room for individual innovation. Brancusi?s statue on the other hand is a nonrepresentational form created according to no traditional template. Brancusi claimed that his material was the major guiding force in his work. He believed that the forms presented themselves from out of the material itself. Thus, although the two artifacts are both examples of sculpture, the bodhisattva is a devotional piece that has major religious and ethical implications, whereas Brancusi?s Golden Bird is a self-sufficient meditation on form that attempts to reveal its own essential nature by the free play of its forms."
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Classical Roman Sculpture, 2002.
An analysis of the artistic depictions of barbarians in classical Roman sculpture.
2,900 words (approx. 11.6 pages), 9 sources, AU$ 154.95
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Abstract
This paper will examine the representation of barbarians in Roman art, and particularly sculpture. It will be argued that the primary mode of representation of barbarians in Roman art occurred within the iconography of empire, where the barbarians represented the Roman "other" whose existence as defeated figures reflects on the power and grandeur of Rome. However, it will be seen that there exists significant variations in the depiction of barbarians even within this iconographic code. The primary variation, it will be argued, occurs between the sculpture of the imperial center and that of the periphery. While in Rome the obsession with realism governed the artistic representation of barbarians for centuries, on the frontiers of the empire barbarians were often represented by "barbarian" artists, with significant departures from the dominant mode of realism.
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Renaissance Sculpture, 2002.
Compares the "Davids" by Donatello and Michelangelo to show how both pieces epitomize their periods and styles.
1,722 words (approx. 6.9 pages), 4 sources, MLA, AU$ 80.95
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Abstract
The division of Renaissance art into three distinct periods began with Giorgio Vasari, the great Florentine art historian and chronicler of the lives of the artists. Vasari concluded, based on his universally accepted perception of Michelangelo as ?Il Divino,? that Renaissance art reached its most sublime expression in the works of Michelangelo and Leonardo da Vinci. However, some modern art historians wonder how valid or valuable this categorization and consequential value judgment is. Roberta J. M. Olson challenges the very existence of a ?High Renaissance,? on the grounds that ?the term is artificial, a qualitative judgment of ?High? signifying the best,? The paper shows that there are surely noticeable differences in the vivid expressions of Italian Renaissance art from the fifteenth to the sixteenth centuries. Art from the early period of the Renaissance sprouted from the preceding medieval and Gothic artistic traditions, with their emphasis on dramatic facial expressions and compositions. This is especially evident in the sculptural arts, those three-dimensional figures that rendered the human form with increasing idealism. The paper shows that this trend toward idealistic renditions of the human face and figure directly derived from a revived interest in the Classical arts of ancient Greece and Rome. In fact, Renaissance art in general is defined by its classical motifs, materials, and mannerisms. Donatello signified this coming together of two artistic and philosophical traditions in the early periods of the Renaissance in Florence. A century later, Michelangelo Buonarotti built upon Donatello?s earlier contributions to Italian art and sculpture in particular. The paper explains that although the works of Michelangelo defy categorization, his is generally considered to be ?instrumental in creating the High Renaissance,? and is heralded as that period?s hallmark of all the works available for research by art historians, the two that most epitomize their periods and styles and which are most easily comparable because of their similar subject matter are Donatello?s and Michelangelo?s statues of David. This paper therefore examines and discusses these two pieces and show how they characterize the time periods they represent.
From the Paper
"Moreover, Donatello?s David signifies the budding Renaissance style because it incorporates distinctive classical elements. These elements would later mature in the corresponding David by Michelangelo. Nevertheless, while Donatello preserved Biblical accuracy in his rendition of David slaying Goliath, he also paid tribute to the sculpture of ancient Greece and Rome. His David, in fact, is almost Mercurial with its pagan-influenced hat and its adorning wreath. Here, Christianity and paganism coexist in one statue. Michelangelo?s later version had none of this; in fact, Michelangelo did away with the image of Goliath altogether to focus solely on the stature of the hero?as if he perceived David as more of an ancient athlete than a Christian warrior. Similarly, Michelangelo underemphasized the actual struggle between David and Goliath: instead of a sword placed valiantly in the foreground as it is in Donatello?s, Michelangelo?s David sports a barely noticeable sling."
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Art and The Young American Society, 2002.
Examines how the United States used art, sculpture and architecture to develop a new identity after the Revolution.
1,164 words (approx. 4.7 pages), 3 sources, MLA, AU$ 58.95
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Abstract
The success of the American Revolution meant that the former colonists had to take on the difficult job of building a new kind of nation, with a new style of government, based on ideas about freedoms and rights that had never been tried before. The young country wanted to draw on what was best from its European heritage, but also to distinguish itself from Britain's culture which had been the principal cultural model. The paper shows that in the first century, the United States formally and informally used painting, architecture, and sculpture to carry important messages about the nature of American society and to develop styles that were distinctively American. Examples of two works from each of these branches of the arts demonstrate the variety of ways in which the country's art presented American ideals, promoted American self-confidence and developed an American character.
The works discussed are: Gilbert Stuart's painting "Vaughan Portrait" (1795); Thomas Jefferson's architectural design of the Virginia State Capitol Building (1785-99); the statue "Justice" (1824) by sculptor William Rush; Hiram Powers' bust of General Andrew Jackson (1835); Robert Mills' Treasury Building (1836-42) and Albert Bierstadt's painting "The Oregon Trail" (1869).
From the Paper
"Almost as soon as the Revolution ended painters and engravers began to meet an overwhelming demand for portraits of George Washington and other leaders. In addition to being a major symbol of independence, Washington was also painted as the embodiment of "American virtue, restraint, courage, and strength--in short, of American republicanism" (Baigell 27). Gilbert Stuart, an American who trained in England, produced some of the finest and most popular versions in such paintings as George Washington or the Vaughan Portrait (1795). Stuart showed a rather "patrician and remote" Washington, partly because he trained in the aristocratic portrait tradition in England (Baigell 36). But, as Baigell notes, Stuart was a Federalist who did not approve of the growing popularity of Thomas Jefferson and his more democratic ideals. The Vaughan Portrait also reflects, therefore, "the mood of the Federalist hierarchy, fearful of runaway populism . . . and anxious to fix a national image in the minds of Americans to counter endemic localism" (Baigell 36-37)."
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