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Post-Modern Abstract Artists, 2000.
This paper discusses the life and work of post-modern abstract artists Frank Stella, Andy Warhol and Roy Lichtenstein.
3,140 words (approx. 12.6 pages), 10 sources, MLA, AU$ 133.95
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Abstract
This paper explains that Frank Stella, born in 1936, influenced by the flag paintings of Jasper Johns, emerged in the 1960s as a leading example of Post-Painterly Abstraction, a reaction against Abstract Expressionism. The author relates that Andy Warhol's Pop Art applied a commercial art style to painting, as he appropriated subject matter from the pulp media. Warhol creating a style out of his own non-involvement with the material and his attempt to produce works that were machine-like, thus separated from the artist. The paper recounts that Roy Lichtenstein (1923-1997) is known for his series of paintings as a comic strip working with stencils to make rows of over-sized dots, forming his paintings of prints and making them look like a huge mass publication product.
Table of Contents
Frank Stella
Andy Warhol
Roy Lichtenstein
From the Paper
"Lichtenstein similarly imitated objects of popular culture, as in his comic-strip paintings taken from comic books and the like, or from his series of advertisements recreated on canvas, such as "Girl with Ball" (1961). Warhol's "Marilyn" images were mechanically reproduced and celebrated the machine element both in the way they were created and in the way they imitated a strip of motion-picture film, which is a mechanical means for reproducing movement. Lichtenstein in "Girl with Ball" and similar images recreated the mechanical look such newspaper print ads have in their original state, as if created by an off-set process that leaves the image flat, with texture showing through from the paper, or the canvas, and with a limited palette in keeping with the tri-color off-set process."
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Post-Modern Rebellion Against Modernism, 2004.
A comparison of Jackson Pollock's and Andy Warhol's art.
1,494 words (approx. 6.0 pages), 7 sources, APA, AU$ 72.95
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Abstract
This paper talks about, not only the significance of modernism and postmodernism, but also characteristics of both artists, Pollock and Warhol, along with their artworks.
From the Paper
"An art-historical comparison of Jackson Pollock and Andy Warhol, two of the most celebrated artists of the mid to late twentieth century, is significant in demonstrating a shift from modernism to postmodernism. Pollock is represented as an ultimate expression of modernism and the embodiment of ambition for liberation in the 1950's. His drip paintings, which eliminated subject matter as essential , paved the way for modernist artists to take apart the foundations of all that was special in previous art making and abandon beauty as an ideal. Because of the significance of his work, modernism couldn't have gone as far without Pollock. The era of modernism, however, came to an end in 1964 according to Arthur Danto who stated that Warhol's art, especially his Brillo Boxes, marked its end. At the same time, as this work also implies the beginning of postmodernism, which is derived from modernist beliefs and attitudes, it is the art world with diverse aesthetic forms that broke with modernism. As a postmodernist and the enigmatic homosexual superstar of Pop Art, Warhol, adopted media, popular culture, and reproduction to rebel against the characteristics of modernism which Pollock's work and attitude toward art represented. By looking at two particular paintings, Pollock's Lucifer (1947) and Warhol's Triple Elvis (1961), we are able to bring out not only the differentiation of their personas and attitudes toward their art, but also the issues of Warhol's rebellion against modernist including Pollock."
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The Photographer as Artist and the Artist as Photographer, 2006.
A summary of the influences of photographers on art and art on photographers.
3,816 words (approx. 15.3 pages), 10 sources, MLA, AU$ 152.95
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Abstract
In this report the author examines the photographer as an artist and what he can contribute to natural art. From the other point of view the author also examines how art has influenced photography. He cites many opinions of famous artists and photographers. The conclusion of the paper clearly communicates that in society today art and photography cannot be considered mutually exclusive.
From the Paper
"Limitations in photographic technology determined the imagery left from the Civil War. Because exposure took several seconds, Brady heavily favored images that didn't move. For example, full regiments in formation often held still for the camera. Additionally, the gruesome aftermath of battles constituted the other predominant category of Civil War photos. For a country that had been reared on the adventure and glories of war portrayed in paintings, the overall impression of this rupture in the American psyche was depressingly grim, drab and nauseating."
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Impressionism and Modernism, 2002.
Discusses the origins of two major art forms: Impressionism and Modernism. Some of the artists associated with these forms of art are also discussed.
2,321 words (approx. 9.3 pages), 6 sources, MLA, AU$ 104.95
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Abstract
This paper looks at the history and origins of Impressionism and Modernism. It looks at some of the by-products of these art forms, and the techniques employed by well-known Impressionists and Modernists. The paper also describes and analyzes the paintings of some of the most famous impressionist and modernist artists.
From the Paper
"Although the term "Impressionism" was first used in 1874 by a journalist ridiculing a landscape by Monet, the bitter controversy that raged for twenty years over the merits of Impressionism actually began eleven years earlier, in 1863, at the Salon des Refuses, an exhibition held to accommodate the exceptionally numerous works rejected by the jury for the salon that year. It was here that Manet shocked the viewing public with his Dejeuner sur l'Herbe ("Luncheon on the Grass"), which portrays a nude woman and two clothed men seated in the woods. Thus, Manet's refusal to idealize the figures or make the event seem less contemporary offended many critics and art dealers, for with this painting, Manet had drawn away the curtain of classical illusion and brought the nude up-to-date."
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Online Academic Communities for Artists, 2004.
Examines the possibility of establishing online academic communities for artists.
7,100 words (approx. 28.4 pages), 17 sources, APA, AU$ 230.95
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Abstract
This paper studies the different concepts related to networks and communications, as well as the establishment of an online academic community for artists. It looks at the online academic community that Stanford University has started in the pursuit of determining whether such a community can be beneficial for all the artist students. The paper includes graphs and tables.
Paper Outline:
Introduction
Review of Literature
Network Defined
Social Networks
The Upsurge of Different Social Networks
The Role that Social Networks Play
Communication Networks
Computer Mediated Networks and Hyperlink Networks
The Internet Phenomenon
Community Web Sites
Emergence of Networks' Commercial Markets
Privatization and Rising up of World Wide Webs
Academic Networks
Personal or Face-to-Face Networks
Online Networks
Implication to Communication and Information Networks
Barriers to Network Communication
On Freedom
On Control
Establishment of an Online Community
Comparison of an Online Community versus Physical Community
The Artist
The Artist as An Inventor and Scientist
The Artist As Part of An Online Academic Community
Case Study (Club Nexus)
Discussion
Advantages of putting up an Online Academic Community
Other Areas to Consider
Conclusion
From the Paper
"Meanwhile, the coming of the new millennium has brought new and more challenging technologies. Different forms of communications such as Internet, mobile phones and SMS, Internet chat or MIRCs, and e-groups penetrated majority of the countries around the world. Communication through computer - generated networks became very visible. This enables any individual to talk with someone you cannot see in a face-to-face basis, to buy something and have it delivered without having to go out of your home, to research for any information with just one click on the Internet, or to meet new friends. Even on - line studies or distance education through computer - generated communication sprouted like mushrooms. More and more schools started to offer distance form of learning to accommodate students who, due to lack of time, opted to enroll in a much "scheduled-free" learning method. Furthermore, the idea of learning through online gave birth to online academic communities, as pioneered by Stanford University's Club Nexus. This academic community brings the students of the same preference closer to one another and at the same time broadens the students "world"."
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The Art and Artists of British Canada 1759-1830, 2002.
Addresses the question of whether English Canadian art, from 1759 to 1830, was influenced by the military background of the artists.
2,150 words (approx. 8.6 pages), 5 sources, AU$ 116.95
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Abstract
The fact that so many of these artists were of a military background begs the question: Are the themes and styles of English Canadian art during the decades immediately after 1759 influenced by these artist's military backgrounds? To answer this question, this paper will first discuss British artists in Canada during this time, and their backgrounds, and then proceed to an examination of two particular artists and their works.
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17th and 18th Century Artists, 2001.
This paper describes some famous artists including Rembrandt, Renoir and Sargent.
1,395 words (approx. 5.6 pages), 11 sources, AU$ 67.95
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Abstract
This paper describes some famous artists including Rembrandt, Renoir and Sargent. The author gives particular emphasis to artists who painted on canvas and concentrated on portraits of women.
From the paper:
"Rembrandt Harmensz. van Rijn was considered to be the greatest artist of the Dutch Baroque Era. Rembrandt lived from 1606 until 1669. He specialized in portraiture and was a master of light and shadows. Woman with a Pink, an oil on canvas, was painted by Rembrandt in the early 1660s. The unidentified woman in this warm but somber portrait offers a pink (or carnation), symbolic of marriage, to her husband in Man with a Magnifying Glass. This painting is dark and slightly haunting, with the woman seeming to be lost in deep meditative thought."
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Catalan Modernist Artists, 2004.
An analysis of the French influence on Catalan modernist artists.
3,353 words (approx. 13.4 pages), 12 sources, MLA, AU$ 139.95
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Abstract
This paper focuses on the modernist or "modernista" movement of the early 20th century and examines how French culture and artists of the time influenced these artists. The paper also discusses how these influences bled through to their own cultural identity and expression in Spain.
From the Paper
"It is difficult to imagine the art world without a French influence. It seems that throughout history much of art has been based out of French culture and social ideas. The central location for such artistic creation has primarily been that of Paris, France. It seems that many artists have journeyed there for education or intellectual freedom of expression. It is a special place, a place that thrives on the energy art represents to the world. Even today, it is the place to be an artist. There is a certain allure and safety as if an artist's identity automatically fits with Paris. Maybe the draw can be attributed too much of its pulse is generated by art and the museums there that house art. This pulse breeds a certain rhythm artistic people can relate to and feel comfort. This in not to say that art cannot be produced in other cities. It just seems that many artistic movements have found their beginnings in this city. Still I think the reason that many movements thrive elsewhere is because artists take their experiences home with them. The cultural influence carries over to their new environment."
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Artists at War, 2003.
An analysis of the various effects of World War I on British art and artists, specifically Windham-Lewis, Nash and Nevinson.
2,971 words (approx. 11.9 pages), 2 sources, APA, AU$ 127.95
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Abstract
This paper discusses the effect of World War I on British art and follows the transformation and disintegration of Futurism and Vorticism from 1914 - c. 1920. In particular, it examines Percy Wyndham Lewis, Christopher Nevinson and Paul Nash and includes a visual analysis of the major works of these artists during and shortly after the War. It also looks at the British Pictoral Propaganda Department and Muirhead Bone and various government comissions from 'war artists'. It argues that the war effectively dissolved England's only true modern movement and that the war had dramatically different effects on Wyndham Lewis, Nevinson, and Nash.
From the Paper
"Nevinson was the first of the artists to go into war, as well as the first to exhibit work inspired by his experiences on the Front. His one-man show at the Goupil Gallery in 1916 exhibited works from 1915-16 done in a Futurist/Cubist idiom. Works from this period include Bursting Shell, Explosion, French Troops Resting, La Mitrailleuse, Returning to the Trenches, Column on the March, and La Patrie. These are among his best wartime efforts, particularly the last two. La Patrie (1916) is a skillful composition, successful both in its form and expression. Nevinson portrays the palpable suffering of wounded victims in the dark interior of a Red Cross shelter, where the small amount of light that enters the barren space serves only to make visible the anguished faces and blood-soaked bandages in the foreground and large number of people in the background, and to spotlight the newly-arriving patient being carried in on a stretcher."
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Romantic Artists: Goya and Delacroix, 2007.
This paper discuses two artists of the romantic movement, Francisco de Goya y Lucientes (1746-1828) and Eugene Delacroix (1798-1863).
1,360 words (approx. 5.4 pages), 4 sources, APA, AU$ 66.95
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Abstract
This paper explains that, during the romantic movement in Spain and France, which is described as an anti-intellectual movement in both art and literature, artists of this tradition actively commented against the traditions of aristocratic domination of politics and societal norms and supported the rise of nationalism. The author points out that both Goya and Delacroix related their artistic visions and imagination to actual events and made political statements through their depiction of war. The paper explores this theme in Goya's "The Third of May 1808", which he created in response to the tyranny of Napoleon's forces, and in Delacroix's "Massacres at Chios, 1824", which was his objection to the continuing social repression of the professional and peasant classes.
From the Paper
"The decades preceding and following the turn of the 18th century were violent and bloody. It was an era of much political and social upheaval where people, ranging from both intellectual and educated to peasants, began to question the role and power of the aristocracy whom they began to view as irresponsible despots . In particular, the divine right of royalty was questioned along with the rules they imposed upon their subjects as well as the war atrocities they caused. Artists, including painters began to portray the fall out of this political upheaval."
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Forms Of Art By Two Artists, 2002.
This paper presents a comparative analysis of the two artists who are Edward Manet and Claude Monet.
2,150 words (approx. 8.6 pages), 3 sources, AU$ 116.95
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Abstract
This paper presents a comparative analysis of the two artists who are Edward Manet and Claude Monet. A complete overview of their artistic lives has been observed, thus finding out the similarities and comparison between the their works.
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The Impressionist Artists, 2005.
A discussion on the French impressionist artists of the late nineteenth century.
1,090 words (approx. 4.4 pages), 4 sources, MLA, AU$ 56.95
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Abstract
This paper examines how the main theme of the impressionist artists was the reflection of personal impression on canvas. The author reviews the work of impressionists Claudet Monet, Edgar Degas, Auguste Renoir, Alfred Sisley, Camille Pissaro and Berthe Morrisot. It concludes that the contribution of Impressionists is invaluable because they set new standards of fine art, which gave birth to other categories of art such as post-impressionism, symbolism, primitivism and modern.
From the Paper
"The father of the Impressionist movement is considered to be Claudet Monet (1840-1926), French painter of the late nineteenth century, who developed new technique when painting French landscapes on open-air. Monet came to the conclusion that a painting "made on the open air, has a unique freshness and liveliness, which is unable to be achieved when working in the workshop", where the theme is preplanned. According to Monet, painter had to change the way he perceives reality by fragmenting it into naive and primitive images, which formed the core of the aesthetic impression. Monet set a new task to the art, to reflect a momentary impression, to picture every moment and every element of objects motion in order to make painting alive."
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19th Century Artists' Use Of Self, 1999.
Compares artists' use of own image or perspective to an effect on the viewer in George Catlin's "Portrait of Mah-To-Toh-Pa--Mandan," Eugene Delacroix's "Women of Algiers" and Winslow Homer's "A Visit from the Old Mistress."
2,475 words (approx. 9.9 pages), 4 sources, AU$ 127.95
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Abstract
Nineteenth-century painters were sometimes travelers who ventured beyond frontiers and returned with visual reports of their encounters with other cultures. In an age when engraved drawings were an accepted part of newspaper reportage artists' reports were not likely to be challenged.
From the Paper
"Nineteenth-century painters were sometimes travelers who ventured beyond frontiers and returned with visual reports of their encounters with other cultures. In an age when engraved drawings were an accepted part of newspaper reportage artists' reports were not likely to be challenged. But painters' accounts were not accompanied by texts and they often took care to insist on the fact of their presence at the scene and among their subjects. This served as a warrant of their reliability and facilitated acceptance of ideas or attitudes implicit in their representations of other cultures. Artists thus presented themselves as surrogates for their audiences--confirming, modifying, reinforcing, and re-shaping perceptions of other cultures. These painters employed different visual strategies as the means of emphasizing their roles as witnesses, and ..."
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"The Artists' House in Argenteuil", 2002.
A review of Monet's painting "The Artists' House in Argenteuil".
1,400 words (approx. 5.6 pages), 2 sources, AU$ 77.95
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Abstract
This paper is a reaction to the painting "The Artists' House in Argenteuil", by Monet. It focuses upon the use of color and shading that was the identifying mark of the impressionist painters. It concludes that the work is a living depiction of a moment frozen in time.
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19th Century English Artists' Techniques, 2002.
Examines the contributions of Sir Charles Eastlake and Mrs. Merrifeld to the contemporary understanding of 19th century English artists' techniques.
2,900 words (approx. 11.6 pages), 7 sources, AU$ 155.95
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Abstract
Sir Charles Eastlake and Mrs. Merrifield added much, perhaps indirectly, to our knowledge of 19th century English artists' techniques. This paper examines their milieu, and how they gained interest in the painting that they wrote upon, along with their published contributions to fine art scholarship. Both authors are looked at in the light of a particular cultural and intellectual environment.
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