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The Metropolitan Museum of Art, 2008.
An overview of the Renaissance exhibition at the Metropolitan Museum of Art.
724 words (approx. 2.9 pages), 3 sources, MLA, AU$ 42.95
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Abstract
This paper discusses how the special exhibits at the Metropolitan Museum of Art serve an important role in the storytelling of social, political and art history. In particular, it looks at how the special Renaissance exhibition tells a fascinating story of religious and intellectual enlightenment, and provides patrons with a glimpse of Renaissance tastes, fashions, standards of living and way of life. It examines how the artwork of Fra Angelico and the special exhibit on Renaissance tapestries provide a great deal of knowledge and insight on Renaissance artist influence in religion, society and affluent tastes.
From the Paper
"Angelico's famous pieces The Nativity and The Virgin of Humility are displayed at this exhibit. The works are very powerful, using bright colors to emphasize the birth of Jesus, angels rejoicing from above, and the Virgin Mary cradling Jesus. The pieces individually show Angelico's devotion to the Catholic Church, with symbolism fairly common within the paintings. However the paintings also portray to the viewer the saintly respect provided to the acquaintances of Jesus, especially the mother Virgin Mary. "
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The Guggenheim and Metropolitan Museums of Art, 2002.
A discussion of the Guggenheim and the Met and their success in stimulating and educating museum visitors.
1,395 words (approx. 5.6 pages), 4 sources, MLA, AU$ 76.95
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Abstract
This paper discusses the Guggenheim and Metropolitan Museums of Art, describing and contrasting the two museums in the context of bringing art, culture and architecture to the public. Modern thought regarding museum architecture is also discussed. It also discusses the history of art museums in the past century. It examines the level of interaction between the art admirer and the art itself in several museums and accordingly judges their success.
From the Paper
"Art museums have been through multiple metamorphoses in the last 100-plus years, from ornate Victorian cathedrals stuffed with artifacts, to flexible modernist boxes and vast salvaged industrial buildings. A museum building is often thought of as monumental sculpture, and is itself potentially the most important work in an institution's collection. How paintings and sculpture actually fit into it is, typically somewhat controversial. Museum founders realize that the public can best appreciate and become engaged in art when the level of interaction and personal participation is high. Mimi Gaudieri, the executive director of the Association of Art Museum Directors, and other enthusiasts among professionals in the field insist that there's no conflict between a museum's mission and high-profile architecture. "On the contrary, an exciting building lends itself to art," Gaudieri says. "It's part of the growth of the whole museum field. Years ago we were just sleepy institutions with no profile, and all of a sudden things have changed. Museums have woken up. We are much more aware of the community and are working more closely with it." Current museums incorporate inviting lobbies, lecture halls, libraries, cafes and shops, recognizing that while they display art, they also must draw the interest of the public (and potential donors) with a holistic appeal (Lloyd 2001)."
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American Art, 2008.
This paper analyzes the American paintings and sculpture exhibition at the Metropolitan Museum of Art.
875 words (approx. 3.5 pages), 3 sources, APA, AU$ 52.95
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Abstract
This art study examines the American paintings and sculpture exhibit at the Metropolitan Museum of Arts in New York City. The writer notes that the exhibit is formulated around a three-fold objective: portraits, landscapes and sculpture for early American history. The writer maintains that by examining one piece from each of these sections of the exhibit, there can be a diversified analysis of how the pieces are placed into the overall framework of the museum. The writer concludes that these American art exhibits represent a historical view of early American history and stylistics.
From the Paper
"The historical perspective of this painting is recreated in a fictional pose for Washington and his solders as they cross the Delaware to surprise their British and Hessian enemy. This was an important point during the revolutionary war in which Washington gained a growing national and international support for the cause for independence. This aspect of the exhibition directly relates to the patriotic symbolism of the gallery, as it is representative of a collection that define American historical context. The painting is 149 x 255 inches and is placed within one of the large gallery rooms. The need for this is accentuated not only in its size, but for the centrality of its importance for the historical forum that the Metropolitan Museum of art is presenting. This painting is properly placed in the overall architecture of the northeastern part of the Met, since it allows a wide range of visibility and composure for the viewers to understand the crucial place this painting holds in American art history."
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Greek Vases, 2000.
An examination of the themes found on Greek vases in the New York Metropolitan Museum of Art.
1,185 words (approx. 4.7 pages), 4 sources, AU$ 67.95
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Abstract
This paper discusses the Calyx-Krater vase found at the New York Metropolitan Museum of Art. The vase?s depiction of a scene and ideas from Homer?s "Iliad" is the focus of the paper. However, the history and coloring techniques of Greek vases are also discussed in detail. Illustrations are included with the paper.
From the Paper
"One of the best sources for Greek Mythology is the paintings on Greek Vases. Stories of the gods and heroes are retold again and again in this medium, providing a two dimensional visual reference for the legends. Scenes showing the action of Homeric poems were common, as well as scenes depicting the ideas put forth in these writings. It is the scene of Sarpedon?s death that is depicted, yet it is the idea of a hero?s death that is inferred on the Calyx-Krater of the Metropolitan Museum."
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Greek Vases, 2002.
A critique of some Greek vases which can be found at the Metropolitan Museum of Art.
1,150 words (approx. 4.6 pages), 4 sources, AU$ 73.95
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Abstract
A paper discussing the Calyx-Krater vase found at the Metropolitan Museum of Art. The vase's depiction of a scene and ideas from Homer's Iliad are the focuses of the paper, however, the history and coloring techniques of Greek vases are also discussed in detail.
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?Geometric Krater?, 2002.
An analysis of the Greek vase, ?Geometric Krater?, and why it rests in the Metropolitan Museum of Art.
1,391 words (approx. 5.6 pages), 4 sources, MLA, AU$ 76.95
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Abstract
This paper introduces the piece of art, "Geometric Krater" from Greece, and specifically addresses the question of why it belongs in a museum. The "Geometric Krater" in the Metropolitan Museum of Art in New York is a period piece, made in Greece about 750-700 B.C. It looks at how kraters were originally used for mixing wine with water and how this piece reflects a more religious and cultural use, since it was used as a grave marker and so depicts a funeral, complete with mourners. It discusses how the "Geometric Krater" is a beautiful piece of art, but also an important and lasting piece of history and, as such, belongs where it can be continually viewed and appreciated.
From the Paper
"The vase itself is large, about 42? inches high, made out of golden terracotta, and embellished with black and red geometric designs. The entire theme of the piece is geometry and precise designs, which march in distinct rows around the circumference of the piece. At the lip of the vase, which tapers in slightly from the widest point of the vase, there is a rigid Greek key design in red, edged lightly with black. On either side of the Greek key is a tiny band of black "teeth" painted around the piece. These teeth separate the lip of the pot from the body, which is covered in bands of varying widths. The first band beneath the teeth is a wide band depicting the deceased, lying upon his funeral bier. He is rendered in red and black, with a tiny round head looking almost like a stick figure. He is lying on his side, so the viewer can get scrutinize him more clearly, and mourners rendered in stark black, who raise their arms to the heavens, surround him. "
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"Woman" and "Celia", 2008.
This paper provides a visual analysis and comparison of two works of art and design from the Metropolitan museum:"Woman" by Willem de Kooning and "Celia" by John Graham.
958 words (approx. 3.8 pages), 2 sources, MLA, AU$ 57.95
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Abstract
In this article, the writer studies two works of art that are displayed in the Metropolitan museum. The writer notes that Willem de Kooning's "Woman" is an oil and charcoal rendering of an anonymous woman on canvas, composed in 1944. It is a flat-looking depiction of a female nude against a background that looks like a home. The writer compares this work to "Celia" by artist John Graham. The writer points out that Graham's work is a far softer looking painting, as it is painted in oil, with casein, charcoal, chalk, pencil, pen and ink on Masonite rather than pure, flat oil on canvas. The writer discusses that it showcases "Celia," a woman with a classically hourglass figure and long, soft hair against a black background more reminiscent of a 19th century or classical nude than a modernist depiction of a woman, even though the painting was created at the same time as "Woman."
From the Paper
"The space seems cramped, given her position, although there is no distinctive sense of location to the picture, other than the fact that it is indoors. The painting is classified as abstract expressionist in its color scheme, and its use of a mask-like face, which is reminiscent of some of Picasso's cubist works. Although this work is recognizably human, it seems like a grotesque rendering of the human form. The work seems more like smears or swirls on a canvas rather than a suggestion of someone one might know in life. The smile on the woman's face while she assumes an uncomfortable position, and the cartoon-like yellow, orange, green, and blues make it seem as if the work is a parody of a woman, as if the woman's image is being made intentionally ugly or distorted. Even if this was not de Kooning's intent, the artist's emphasis is on the arrangement of form, line, and color not the character of the woman herself. The woman exists as a subject, a series of surfaces, rather than a unique personality."
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Reflection on El Greco's "Christ Carrying the Cross", 2000.
Personal reflection of El Greco's "Christ Carrying the Cross" on exhibit at the New York Metropolitan Museum.
1,213 words (approx. 4.9 pages), 0 sources, AU$ 68.95
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From the Paper
" As I entered the hall, I saw that it was of a religious air seeing the painted dishes and images of The Madonna. But want caught my eye was the painting by El Greco ? Domenico Theotocopoulus entitled Christ Carrying The Cross 1580. Though the titles stated what it is, Christ carrying His cross, each and every intricate detailed seemed to give it more effect. I first looked at Christ?s eyes that were looking up at something, was it heaven? Was it the sky? Or perhaps in is Father God. His eyes seemed to illuminate at the pupils and the back round of the dark sky showing gray and gloomy clouds signifying rain. Yet deep at the center of the gathering of rain clouds there was a hint of light peeking through as if some celestial spectator wished to look at him."
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UCLA Fowler Museum of Cultural History, 2002.
This paper describes a visit to the UCLA Fowler Museum of Cultural History highlighting a show entitled "Music in the Life of Africa".
1,755 words (approx. 7.0 pages), 1 source, AU$ 93.95
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Abstract
This paper explains that the Fowler is a museum of culture rather than an art museum, and therefore it concentrates on the way culture is manifested by different peoples around the world. The author points out that the Fowler Museum is in a relatively new building on the north end of the campus of UCLA, but getting to the museum and close-parking areas are problems. This paper explains that the display of the artifacts in this museum differs from that in many museums; the visitor is not so separated from the objects being shown, but rather most objects rest on low platforms no more than a foot or so off the ground. The paper includes details of the "Music in the Life of Africa" exhibition.
From the Paper
"Two of the current exhibits emphasize a continuing concern with how a culture makes use of its waste in artistic expression with shows on how certain materials are recycled for use in artworks. A second show has a similar theme but is more particularized as it shows "Muffler Men," or human figures made from discarded mufflers, usually by mechanics who then place these figures outside their businesses as advertising to show passersby what kind of business is conducted inside. Many of these figures are very creative. One service station shown in a photograph has eight or nine such figures outside and on its roof. Some of the figures are playing musical instruments, also made from old mufflers and other automobile parts no longer needed. The figures are usually painted, and they resemble nothing so much as robots in an old science fiction movie."
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Anthropology Museum, 2003.
This paper discusses the creation of an anthropological museum.
920 words (approx. 3.7 pages), 564 sources, AU$ 52.95
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Abstract
This paper discusses the building and putting together of a new museum housing an anthropological collection in the state of Georgia. The author examines how to build the museum, what type of museum it should be and how to balance the research and exhibit goals of the museum. The paper relates issues of collections, funding, staffing, museum design and layout.
From the Paper
"The purpose of anthropology is to study the origin behavior as well as the physical, social and cultural development of humans throughout history and in different cultures. This study can take the form of fieldwork academic study research as well."
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The British Museum, 2005.
This paper discusses the financial management of the British Museum especially for long-term projects and displays.
2,640 words (approx. 10.6 pages), 7 sources, APA, AU$ 131.95
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Abstract
This paper explains that the expenses incurred by any museum including the British Museum can be sub-divided into cost categories: Salaries and benefits, occupancy, curatorial and conservation, public programs, marketing and administration. The author stresses that museums must reserve about 5% to 10% of their total budget for direct collection management costs other than salaries; lesser reserves indicate neglect of the museums most important resources, its exhibits. The paper relates that museums house thousands of art and artifact pieces valued at billions of pounds; therefore, insurance on collections, buildings, equipment, liability and loans to other museums around the world is essential. Charts and graph.
From the Paper
"The museum currently gets a grant of about 36 million pounds. This is nearly one third of its total budget. Although the income from the shops on the piazza has doubled, it is not sufficient to ensure that the museum is profitable. The actual operating costs of the Great Court were higher that the initial estimates. At present effective marketing can combat these unique situations that the museum faces. Fundraising is essential. There are two methods that have been identified in effective fundraising for any establishment. The first is a pace setting donation method in which the museum approaches its most valuable donators and petitions for a donation. This is generally done on a personal, one on one level where interaction is critical. The fundraisers then approach other individuals who might be willing to donate to the cause if they feel that they will gain recognition or popularity from that move."
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Museum Education, 2003.
Discusses the development of museum education departments.
3,600 words (approx. 14.4 pages), 57 sources, AU$ 210.95
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Abstract
Examines the relationship between museum educators and museum curators, the roles of each, overlapping of roles, the division of labor at museums, and the implications of a trend toward art as a cultural and historic artifact.
From the Paper
"The development of museum education departments as the point of contact between the museum institution and the public has occurred in the context of museum mission ..."
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Board Games at the Victoria and Albert Museum, 2004.
A look at some of the more fascinating board games displayed at this London museum.
4,926 words (approx. 19.7 pages), 6 sources, MLA, AU$ 207.95
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Abstract
In 1974, Sir Roy Strong, the director of the Victoria and Albert Museum at the time, felt there were enough significant objects relating to the history of childhood within the Victoria and Albert Museum to devote an entirely separate museum to this subject. Since then, the V&A childhood collection has been housed at Bethnal Green and has developed and grown in status to become a collection of national and international significance. Using the documentation available in the Museum of Childhood archives, the author of this paper has produced a comprehensive report on the most popular and influential games displayed at the museum. The paper shows that games were not just a leisure activity arbitrarily serving as a means of passing time. Many times, they are used to teach morals, histories, and religions, and are always a reflection of the culture that surrounds them.
From the Paper
"Because of the gambling character inherent in many games played with a normal deck of cards, such as Poker or Bridge, children?s card games were often specifically designed to look different by the addition of pictures or words. In Europe, card games have been documented since about 1370. Card games for children are often fast-moving, enjoyable and easy to learn. Most could be played with a standard deck as well, but often cards for children have an educational theme, with designs based on almost any subject, from fairy tales to maths."
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The National Gallery Museum, 2004.
Discusses a history of this London art museum and some of the more famous paintings housed there.
1,078 words (approx. 4.3 pages), 5 sources, MLA, AU$ 62.95
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Abstract
The National Gallery Museum is home to some of the world?s most famous paintings, including "Venus and Mars" by Sandro Botticelli and "Sunflowers" by Vincent van Gogh. This paper presents a history on the museum, including the addition of the Sainsbury wing and then describes several paintings stored in the museum. It also provides an architectural description of the museum.
From the Paper
"The atmosphere of the Early Renaissance gallery is sophisticated, accessible and subdued. Lighting is a combination of artificial light and natural light that is automatically controlled and "delicately balanced" (Venturi, Scott Brown & Associates). The wing takes advantage of natural lighting as much as possible, and is designed to reduce damaging ultraviolet radiation. The color of the walls is designed to minimize distraction, and showcase the individual works (The National Gallery Museum, Building). A "gently implied hierarchy" of rooms (ranging from small to medium and large rooms) make up the galleries (Venturi, Scott Brown & Associates)."
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Museums, 2005.
An analysis of the role of the museum in modern day society.
1,941 words (approx. 7.8 pages), 10 sources, APA, AU$ 101.95
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Abstract
This paper explores the roles that museums have today and discusses this against the background of contemporary academic and policy debates. The paper considers whether museums can defend their role as a conserving agent, especially in times where the Internet and other media have become the main source of information for most people. The paper then concludes that the traditional museum, as it exists for more than 200 years now, plays and will always play a special but nonetheless important role in the lives of the people and in a society that rather is a changing collectivity than a rigid system.
From the Paper
"The term 'museum' is originally derived from the Greek word mouseion, which simply meant library, and was used for the Ptolematic library in Alexandria (Vergo: 1997, 1). But that collection of books in ancient Greece cannot be compared to the modern form of our so well-known museum. The museum as we know it first came to being in the 18th century in France. After the French Revolution, the private collections of the rich were made publicly accessible and thus gathered together in special places for every citizen to visit. This process of bringing culture to the mass, of 'culturing', was an attempt of constituting a public, of generating 'a self-identifying collectivity in which members would have equal rights, a sense of loyalty to one another and freedom from exclusions' (MacDonald: 2003, 2). "
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L.A. History Museums, 2002.
A discussion of how Los Angeles' museums shows L.A. history.
900 words (approx. 3.6 pages), 2 sources, AU$ 58.95
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Abstract
This paper presents a detailed discussion about the Natural Living History Museum of Los Angeles and how it pertains to the history of the state and consequently the nation. The history of the United States until 1865 was an interesting time. We moved slowly while at the same time making leaps and bounds in progress as far as settlements went. Families sought out new lives and believed that travel held the key to their happiness and future success . While the nation was still struggling to determine how it was going to conduct itself and present itself to the world it endured many changes including the Civil War and the enactment as well as the abolishment of slavery. In addition to the Natural Living History Museum being used as an example the Gene Autry Museum was also touched upon as relating to the time period.
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