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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$ 53.95
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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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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$ 101.95
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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 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$ 85.95
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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 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$ 85.95
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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$ 62.95
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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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Traditional Sculpture: Bernini and Canova, 2004.
This paper discusses the continuity of technique and style in traditional sculpture, from Antiquity to the Baroque and Neo-Classical periods, specifically in the sculpture of Italians Gianlorenzo Bernini (1598-1680) and Antonio Canova (1757-1822).
1,950 words (approx. 7.8 pages), 8 sources, MLA, AU$ 91.95
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Abstract
This paper explains that the mythical antique sculptures initially seem to have more features in common than differences with those of Bernini from the Baroque era and Canova from the Neo-classic era; but, upon closer examination of Bernini's 'Apollo and Daphne' and Canova's 'Cupid and Psyche', they are steeped in the attitudes and values of their own periods. The author points out that Bernini's 'Apollo and Daphne' reflects the religious emotionalism and exuberant decorative richness that spread all over Europe from Rome, while Canova's 'Cupid and Psyche' demonstrates the fusion of Christian values and Eighteenth century sensibility. The paper relates that, in classical art, the greatly prized qualities of nobility, grace, beauty, supreme physical strength, virtuosity and heroism is expressed in sculpture: Bernini and Canova seem to use the Antique period as an inexhaustible source of human qualities and emotions.
From the Paper
"Bernini's 'Apollo and Daphne' exemplifies sculpture from the Baroque period, and Canova's 'Cupid and Psyche' is a prime example of Neo-Classical sculpture. The very title 'Neo-Classical' suggests a strong identification with ancient art, but the movement was perhaps more of a reaction against the Baroque style. It sought to combine Christianity with the general sentiments and principles of the time. The Neo-Classicists condemned Baroque art for its excessive detail and lack of 'meaning'. John Flaxman once criticised the extravagance of Baroque sculpture, describing it as all about 'twisted heads, full bodies, fluttering draperies; all wrists and ankles and bombastic attitudes'. In comparison to Bernini's Daphne and Apollo', Canova's 'Cupid and Psyche' is an unadorned sculpture."
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Sculpture in the Middle Ages and Renaissance, 1990.
Describes sculpture in the Middle Ages and in the Renaissance as ascending in relative importance during these periods. Examines elements of sculptures from each period, such as: "The Virgin", "Christ", "David", "Rape of the Sabine Women" and "Narcicuss".
900 words (approx. 3.6 pages), 2 sources, AU$ 46.95
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From the Paper
"Sculpture in the Middle Ages and the Renaissance had different forms and different styles, but in each case sculpture as an art form changed from the previous era to a more important position in relation to other types of artwork and in relation to the purpose of sculpture itself. In the Middle Ages, sculpture achieved an importance in itself that it did not have in the late medieval period in Europe. In both the Middle Ages and the Renaissance era, sculpture involved a revival of certain earlier forms and styles as well, recalling an earlier period and Classical originals in the case of the Renaissance.
The era of the Middle Ages is divided into more than one period. Janson (1986) notes that during the Romanesque period, there was a revival of monumental stone sculpture that was remarkable because there had been no indication before that this..."
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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$ 155.95
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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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Architecture and Sculpture, 2007.
A comparison of function and construction of Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral."
1,061 words (approx. 4.2 pages), 3 sources, MLA, AU$ 54.95
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Abstract
This paper compares two famous works of art - one sculpture and one of architecture. It examines Michelangelo's sculpture of "David" and the architecture of Chartres' "Cathedral." It compares their structure, materials, function, how they were constructed, the type of structure, their purpose and the length of time it took to construct them. The paper also compares them with regard to proportion and their similarities in characteristics of visual and design elements.
From the Paper
"As to function, they provoke the same sentiment: awe. The "David" looks down briefly upon the viewer and one's eyes wander to his hands or arm or slingshot and one marvels at the holiness of God. The same may be said of the cathedral. When one stands in the entrance and views the enormity of the vault, the lights and color of the stained glass windows, and how constructed (Spiro 335), one wants to remain in the atmosphere, All the parts work together to bring about a sensation of holiness and awe. The central nave is in the shape of a cross, with the top of the cross at the altar and the two arms stretched out on either side. The cathedral was assembled from millions of stones, which were then laid, or installed on the site where it was needed. The "David" material (a large piece of marble and a slingshot in his hand,) is simply a single piece of marble."
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Sculpture and Form in Ancient Egypt and Greece, 2002.
Examines how ancient Egypt influenced early Greek culture, as can be seen through works of art from the time period.
1,462 words (approx. 5.8 pages), 7 sources, APA, AU$ 70.95
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Abstract
Ancient Egypt had a significant impact on early Greek culture, as can be evidenced by enduring artifacts. Egyptian sculptures, primarily created for the pharaohs or high-ranking officials and essentially religious in function, significantly influenced the form and style of statues of the early Archaic Age. Poses were rather rigid and very conventional and facial expression was confined to the typical Egyptian half smile. The paper shows that over time, Greek artisans began developing their own approach. By the late Archaic and definitely prior to the beginning of the Golden Age or Classical Period, artwork started to reflect evolving philosophies and ideals and to celebrate the human figure. Sculptures portrayed more elaborate features and less static stances.
From the Paper
"The statues also represented the society?s hierarchy. At the bottom of the rung were the slaves, tomb builders and farmers. Further up came the craftspeople, educators, doctors, noblemen and priests. The pharaoh filled more than the role of king and ruler. He was considered a god on earth. (Grant 1990, 23) Egyptians used the size of their statues to illustrate the social order. The pharaoh was larger then life size, scribes and court officials life size and workers and peasants always shown working. The images of the pharaoh, always larger than life, made him appear all the more god-like. The large works of sculpture were often displayed at temples that were built for the pharaoh?s chosen deity."
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The Sculpture of Venus Doidalsas, 2000.
An in depth look at Praxitiles' sculpture, "Venus of Doidalsas".
820 words (approx. 3.3 pages), 3 sources, AU$ 43.95
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Abstract
This paper looks at Praxitiles' sculpture, "Venus of Doidalsas", the mythological figure of love and beauty. The author describes the artist's use of technique and symbolism to portray her importance and human qualities.
From the Paper
"The statue of the Roman goddess, Venus, is a marble copy of an earlier work by Praxitiles. It is based on the famous Aphrodite of Praxitiles, which was made for the goddess?s shrine at Knidos. This fourth century BCE masterpiece is currently displayed at the Walter?s Art Gallery in Baltimore. The sculpture Venus shows the audience that viewers her, a perfect body, beauty, and sex. We will observe this sculpture to find inward and outward sensations, form, and awareness to shape."
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Japanese Sculpture, 2002.
A look at the uses of Naturalism and Realism in Japanese sculpture.
1,400 words (approx. 5.6 pages), 4 sources, AU$ 77.95
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Abstract
This six-page paper presents a detailed and in-depth discussion about realism and naturalism in Japanese art including and focusing on sculpture. The author takes the reader on a look at the history of the art form as well as the current use of the concepts in the modern artist's repertoire.
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Women in Hellenistic Sculpture, 2005.
This paper discusses the representation of women in Hellenistic sculpture.
2,250 words (approx. 9.0 pages), 10 sources, AU$ 129.95
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Abstract
This paper looks at the Hellenistic period that covers some 300 years, from 323 B.C. to 31 B.C. The writer discusses the great political changes of the Hellenistic regime during this period. In this article, the writer studies the portrayal of women at this time in Hellenistic sculpture.
From the Paper
"The Hellenistic period covers some 300 years, from 323 B.C. to 31 B.C. The beginning of the era was marked by the death of Alexander the Great, and the end came with the Roman conquest of the Hellenistic regime. There were massive political changes during this time period, as the self-contained city-states suddenly gave way to the much more loosely organized domains of the Hellenistic kings. In addition, Greek cities were now founded far to the East of the previous boundaries of Hellenism."
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Sculpture's Depiction of Suffering, 2005.
A review of the four contrasts of meaning in the art of sculpture.
2,250 words (approx. 9.0 pages), 10 sources, AU$ 129.95
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Abstract
This paper examines Rodin's "The Gates of Hell", the "Palette of King Narmer", Auguste Preault's "Slaughter" and Edward Keinholz's "The State Hospital", in terms of what they convey of suffering, the human condition, the origin and results of suffering, across cultures and periods. Through this paper, one realizes that suffering as depicted in sculpture has different meanings, according to theistic or other culture and how the individual is anticipated to respond to it.
From the Paper
"A theme of human suffering has appeared, many times, in sculpture, and as this paper conveys, in remarkably different periods. Examining Rodin's 'The Gates of Hell', 'the Palette of King Narmer', August Preault's 'Slaughter', and 'The State Hospital' by Edward Keinholz is not as curious an exercise as it may, at first, seem. Emily Vey Duke argued that, "art is for empathy, and empathy... for the reduction of suffering". (Suffering, 2005, 8) However, the very different works discussed in this paper indicate something different, even if some similarity is found in the way that suffering is their foremost, memorable message."
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