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Ansel Adams, 2007.
A biography of the American photographer, Ansel Adams.
1,428 words (approx. 5.7 pages), 4 sources, APA, $ 47.95
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Abstract
The paper examines how Ansel Adams was a "straight photographer" who captured the beauty of natural America, particularly the West. The paper explores how he was also a national icon who worked tirelessly for the preservation of the national parks and furthered the cause of environmental groups such as the Sierra Club. The writer proposes that Adam's art was an expression of himself, in the sense that he found the sublime in nature and transmitted it so that others could experience the same refulgence.
From the Paper
"An artistic sensibility characterized the young Ansel Adams. "When Adams was twelve he taught himself to play the piano and read music. Soon he was taking lessons, and the ardent pursuit of music became his substitute for formal schooling." He imagined himself becoming a concert pianist. Such training was not wasted, even though he did eventually give up the piano in favor of the camera. "From music, he brought to camera work long hours of practice. This accustomed him to technique and hard work; intense study of great composers led him to a deep sense of esthetics, also the direction of creativity required of a performing artist, which interestingly enough, fit photography very well."
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The Baroque Era, 2006.
A review of the Baroque era of music, art and architecture.
1,165 words (approx. 4.7 pages), 5 sources, MLA, $ 40.95
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Abstract
This paper takes a look at the era known as Baroque. This era was the time period between 1600 and 1750. The paper discusses how the Baroque era is generally associated with extravagant and ornamented art, music, architecture and styles. According to the paper, "Baroque" means "curious, odd, or strange" in French.
From the Paper
"Baroque music was the period of musical styles that preceded the Classical Music Era, and followed the music of the Renaissance. The majority of what people today will refer to as "Classical Music" actually originated during the Baroque period. Composers from this period include J.S. Bach, George Friedrich Handel, Antonio Vivaldi, and Claudio Monteverdi, some of the most commonly known "household names" in Classical Music. Important innovations were made in music of this time period, such as music theory, diatonic tonality, and the development of imitative counterpoint (Wikipedia "Baroque Music"), so while the music of this era, like the visual art, is known for its ornamental showmanship, it is also vitally important to the development of serious Western music. Like Renaissance music, Baroque music uses a lot of polyphony and counterpoint, but in the Baroque era these same concepts were used in a different way as " the order of these consonances becomes important, for they begin to be felt as chords in a hierarchical, functional tonal scheme." (Wikipedia "Baroque Music") The role of ornamentation increased during the Baroque era and then diminished come the following Classical Era, and the role of the counterpoint which was important during the Baroque Era was also faded out when the Classical Era began. Vocal soloists, dramatic music expression, opera, clear and linear melody, development to modern Western tonality using major and minor scales, and homophony are among other features that typify the music of the Baroque era. Music was also an integral part of theater -- such as the introduction and popularity of opera -- and dance which were popular during the Baroque Era."
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Aboriginal Australian Art, 2006.
This paper discusses the difficulty of understanding Aboriginal Australian art.
1,520 words (approx. 6.1 pages), 3 sources, MLA, $ 50.95
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Abstract
This paper explains that the range of motifs used in Central Australian rock art depends upon the context of production; however, sacred and secret art is almost exclusively made up of geometric designs and tracks; while art in secular, domestic situations places more emphasis on figurative motifs. The author points out that Aboriginal Australian art, which spans all of pre-recorded history, is an expression of secrecy and the eternal. The paper explains that, as with other Aboriginal artistic systems, there was a range of secret geometric designs, such as the stripes and dots of white clay, red and yellow ochre and black charcoal that were painted on wooden objects, which could only be viewed by initiated men and were hidden away from domestic sites.
From the Paper
"Many of the bark and cave paintings have no ceremonial or religious function, but are produced for pure pleasure of creative effort, a pleasure which stimulates the true artist in all cultures. There are paintings, both on bark and in caves, which have more important functions. In the initiation rituals, secret designs, painted on sheets of bark, instruct the novitiates in the esoteric myths of the tribe, and, in western Arnhem Land, where some of the cave paintings have magical qualities, the old men can, by chanting the correct incantation at the appropriate season, force the magical power of the painting to increase the supply of food."
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Hegelian Aesthetics, 2006.
A discussion regarding Friedrich Hegel and the finite nature of art versus the infinite expression of cycles.
3,182 words (approx. 12.7 pages), 6 sources, MLA, $ 92.95
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Abstract
This paper reviews how Hegel's aesthetic ideal is associated with art or more specifically fine art, as the first of three expressions of the culmination of spiritual development from objective then subjective to the absolute, or the combination of both objective and subjective spiritual awareness. The paper goes on to discuss how 'absolute reality' is what Hegel would refer to as the 'absolute spirit', or the world spirit that is shared by all.
From the Paper
"Desmond goes on to say that Hegel claims that there has been a divorce of the self from art and that art no longer serves this purpose, yet many if not all artists would coldly disagree or even agree in the sense that art is driven not only by self but by a common current of art for the sake of the other, the consumer. Artists constantly challenge the concept of art for self as they outwardly grapple with selling something so reflective of self to another who may or may not understand the message. This is reflected in the modern by the idea that in art, music and even knowledge, success is a failure that many are seeking, again a reflection of the incomplete being the base of contradiction and need for synthesis."
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"The Rime of the Ancient Mariner", 2007.
A description of the effectiveness of Gustave Dore's engravings that accompany Samuel Taylor Coleridge's poem "The Rime of the Ancient Mariner."
916 words (approx. 3.7 pages), 0 sources, $ 32.95
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Abstract
This paper discusses Gustave Dore's set of forty-two engravings that accompany the story depicted in Samuel Taylor Coleridge's poem "The Rime of the Ancient Mariner." The paper quotes passages from the poem and describes how the accompanying engravings enhance the telling of Coleridge's story, in order to paint a more vivid picture for the reader.
From the Paper
"The engraving depicting the detention of the wedding guest at the beginning of the story sets the stage for the whole tale. Coleridge uses the frame story convention in order to enhance the story. The poem begins with the ancient mariner stopping a guest on the way to a wedding in order to tell the tale of his adventure at sea. This drawing is definitely on land, and serves to illustrate the contrast between land and sea that Coleridge intended. The background depicts a foreboding city scene, and the looks on the faces of the men in the engraving enhance the ominous atmosphere."
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Botticelli's "The Birth of Venus", 2007.
This paper discusses the painting 'The Birth of Venus' by Sandro Botticelli.
790 words (approx. 3.2 pages), 4 sources, MLA, $ 28.95
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Abstract
In this article, the writer discusses the artist Sandro Botticelli and looks at his most famous work 'The Birth of Venus'. The writer discusses various influences on the work of Botticelli and points out that he combined ideas of mythology with Christian concepts in his painting. The writer notes that the 'Birth of Venus' is believed to be inspired by the Homeric Hymns and Ovid. Furthermore, the writer discusses that in the painting itself, Venus is loosely correlated to the Virgin Mary, while Zephyr and Aura are represented as angels and the nymph Hora, who welcomes Venus, suggests the relationship of St. John to the savior. The writer concludes by pointing out that Botticelli's later works focus on more Christian subjects with traditional themes.
From the Paper
"In his art, Botticelli was truly a Florentine of his time as he spent his whole life there minus one year in Rome where he worked on the Sistine Chapel. Furthermore, the subject matter of his art was influenced by the social and philosophical atmosphere established in Florence by the famous Medici family. Botticelli benefited by a close relationship with that family at the height of their influence on the social and political atmosphere of Florence. Several of his works were painted either directly for the Medici family such as portraits or indirectly through commissions that the Medici family controlled. Without a doubt, Botticelli was a favorite in the family and had access to other artists and thinkers gathered around the family."
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Peter Carl Faberge, 2007.
An examination of the life and works of Peter Carl Faberge.
1,328 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
The purpose of this paper is to introduce, discuss, and analyze the topic of art in Russia. Specifically it discusses how Peter Carl Faberge's products have served, and been affected by, the idea that the arts in Russia are a political, religious, and philosophical arena for debate in the absence of a free press. The paper examines the effect Faberge has had on the arts in Russia. The paper further examines how Faberge is one of the most famous Russian artists in the world, with his works reflecting the opulence and garishness of the Victorian era, and illustrating the attention to detail and opulent decor that was so popular at the time. The paper concludes that Faberge brought world attention to the Russian art world.
From the Paper
"Faberge was an innovator, and that is another important part of his artistic legacy. He brought art nouveau to Russia and created a myriad of decorative pieces. Some estimate his designs numbered more than 150,000 (Von Hapsburg, 1996, p. 4). In actuality, Faberge never made anything himself. He employed hundreds of artisans and craftspeople who did the design and execution. Faberge's contribution was his shrewd business sense and the materials used, such as precious stones, the carving, and the use of gold and silver in the designs.
Faberge's works represented an opulent and excessive time in world and Russian history. The wealthy were extremely wealthy, and society was becoming more mobile, more open, and more interested in the world around them."
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Albert Einstein, 2007.
A discussion on the life and works of Albert Einstein.
1,772 words (approx. 7.1 pages), 4 sources, MLA, $ 57.95
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Abstract
This paper offers a detailed history of Einstein and the effects his works have on the world, including nuclear energy. It discusses his many theories and explains that often times these works were of religious motivation. The paper also discusses Einsteins effect not only in the science arena, but also on art and the development of Modernism and Post-Modernism in particular.
From the Paper
"In more theoretical terms, Einstein postulated several theories that challenged the nature of time and suggested both its relative nature depending on how it is measured and the possibility that it is reversible, something that clearly went against the traditional view. Einstein is really the figure around whom the changes in both the sense of time and of space swirl, for his theories challenged both and suggested ways in which both time and space could be changed, bent, twisted, and made into something different than people had once believed."
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"American Tropical", 2007.
A discussion on David Alfaro Siqueiros' mural "American Tropical".
1,202 words (approx. 4.8 pages), 6 sources, MLA, $ 41.95
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Abstract
This paper begins with a general discussion on three great 20th century Mexican-born muralists, namely, Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros. It continues to discuss David Alfaro Siqueiros' life and his controversial Los Angeles mural "America Tropical", in particular. The author includes reasons for its unenthusiastic reception by Los Angeles leaders in 1932. The paper also explores its great impact on public art.
From the Paper
"Arguably, Siqueiros's America Tropical has also been significant, within Los Angeles (and the United States), artistically; culturally; and expressionistically from the early 1930's on (even considering the quick and total censorship of it in 1932) because American Tropical was in fact the first large mural within the United States anywhere that was created specifically within public space, and public viewing, on a plain exterior public wall."
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Palmer Hayden, 2007.
A biography of the life and work of the painter Palmer Hayden.
971 words (approx. 3.9 pages), 11 sources, MLA, $ 34.95
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Abstract
This paper looks at the work of Palmer Hayden who was one of the first African-American artists to use African subjects and designs in his painting. In particular, it looks at how he was part of the "Harlem Renaissance" in the 1920's, a flowering of African-American social thought that was expressed through the visual arts, as well as through music and how it influenced his work.
From the Paper
"Although Hayden had pursued training in New York and Paris, his style has frequently been described as primitive. "In "The Janitor Who Paints", the figures' oversized hands and intense, cartoonlike expressions, as well as the freely treated space in which shapes are outlined as relatively flat areas of color, recall the simplified forms of American folk art." 7 Actually, these elements are present much more because of his highly personal approach to interpreting the vitality and challenges of African-American life than because of the broader influences of African and modern art that Hayden encountered in Paris ."
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The Getty Center Museum, 2007.
An analysis of artworks at the J. Paul Getty Museum in Los Angeles.
1,150 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
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Abstract
The paper describes how the artistic goal of the J. Paul Getty Museum, located at the Getty Center in the city of Los Angeles, is to make its collection meaningful and attractive to a broad audience by presenting and interpreting the collection through educational programs, special exhibitions, publications, conservation and research. The writer proposes that this has been accomplished with the museum's outstanding collection of art masterpieces, ranging from European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and European and American photographs. The paper examines specific works of Van Gogh, Renoir and Raphael.
From the Paper
"As one of the great masters of Post-Impressionism, Vincent Van Gogh's paintings contain many visual elements and principles of design, especially through his use of color. His insistence on the expressive values of color led him to develop a corresponding expressiveness via his application of the paint to the canvas. The thickness, shape and direction of his brushstrokes created a tactile counterpoint to his intense color schemes, usually by loading his brushes with paint and then vigorously applying it back and forth or at right angles which gives a textile-like effect; he also often applied paint directly from the tube which gives his paintings an almost three-dimensional feel to them."
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The Elgin Marbles, 2007.
A debate on the exhibition of the Elgin Marbles in the British Museum.
1,010 words (approx. 4.0 pages), 3 sources, MLA, $ 35.95
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Abstract
This paper discusses exhibitions in the British Museum. Specifically, it focuses on the debate surrounding the Elgin Marbles. The paper offers an objective exploration on why these sculptures should remain in the museum.
From the Paper
"It is clear the Elgin Marbles are incredible works of art, and they deserve to be seen by the greatest number of people possible. Personally, I did not know of this controversy regarding the marbles, and reading about it gave me a clearer understanding of ancient artifacts and their ownership and display. While I can certainly understand why Greece would like the artifacts back, it seems that if that occurred, it would simply open up an assortment of problems for every museum in the world. Where did their displays come from, and who owns them now? If one country can reclaim treasures, then what would stop other countries from doing the same thing? It seems that museums are the best place for these artifacts, because they take care of them, they allow the public to view them, and they protect them. I am not so sure that would happen with many of the artifacts if they were returned to their native countries."
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"An Old Man in Military Costume", 2007.
An analysis of the painting "An Old Man in Military Costume" by Rembrandt van Rijn.
1,276 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper analyzes Rembrandt van Rijn's 1630 portrait entitled "An Old Man in Military Costume." The paper describes the painting and also describes how the representation of the individual painted differs from other paintings of the same person. The paper then describes how the painting could influence the creation of a film on the Dutch struggle for independence combined with a biography of Rembrandt's life.
From the Paper
"This might be one way to render the form, the visual structure, and the meaning of the work into a film. One could begin a film, for example, on the Dutch struggle for independence combined with a biography of Rembrandt's life by opening up with a shot of a perched ostrich plume, as the credits rolled by. The film camera, after the credits had finished would pan down to show the face of the old man. Suddenly, the man would come alive. As the film transformed the image of the painting into the face of an actor portraying the living subject, sitting for Rembrandt's portrait in a studio, gradually the soundtrack would start to roar with the sounds of soldiers marching in battle. The camera, still focused on the living poser for his portrait would show the face of the man suddenly become young again."
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"On Naive and Sentimental Poetry", 2007.
An explanation of Frederick Schiller's essay "On Naive and Sentimental Poetry."
1,051 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
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Abstract
The paper discusses how Frederick Schiller attempts to create an aesthetic philosophy of what constitutes great art. The paper explains his philosophy that great art is a balance between the unforced beauty of nature and the calculated, skilled knowledge of a technician. The greatest art, according to Schiller, is not pure nature, or pure naive expression, nor is great art the work of the most skilled painter or wordsmith. Rather, Schiller maintains that great art is made by an artist who can exist between the two extremes, who can still think like a simple child with enthusiasm about nature, but also enlarge nature through art in a way that is striking, but not untruthful.
From the Paper
"In the first part of his essay Schiller defends the beauty and purity of nature and apparently unskillful art that is truthful over art that is simply crafted in the sense that it conforms to accepted aesthetic principles. Schiller forces the reader to ask a question of him or herself what makes art both good and moving at the same time? Why do certain apparently simple tunes seemingly so catchy, and why do some works of skilled artists leave a person cold? The answer, Schiller states, is to be found in nature. So long is something is natural, says Schiller, the critic should not feel any guilt about appreciating, for example, naive and sentimental poetry, any more than he or she feels guilty about gazing with pleasure at a flower in nature."
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Art Museum, 2007.
A discussion about various mediums of artwork, their history and where they can be found today.
2,818 words (approx. 11.3 pages), 11 sources, MLA, $ 83.95
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Abstract
This paper describes many pieces of art that were selected because of unique aspects they brought to the world of art. The paper discusses the history of each piece of art and where it can be found today. It concludes by discussing why each piece was chosen for this paper and looks briefly into cross-cultural currents and trans-historical connections.
Table of Contents:
Classical Greek
Hellenistic Art
Etruscan Civilization Art
Republican Rome
Roman Empire
Islamic Civilization Art
Early Chinese
Japanese Civilizations
Gothic
Late Middle Ages
Baroque
Summary
Cultural Cross-currents
Trans-historical Connections
From the Paper
"Each piece in the museum collection was selected because of unique aspects it brought to the world of art. The Aphrodite of Arles, the first piece in the museum, had a dramatic and lasting impact on Western Art. It was the first depiction of a nude female sculpture and set the standard of the female nude in Western Art. The Aphrodite of Arles paved the way for the second piece in the collection, the Aphrodite of Melos. The Aphrodite of Melos is probably the most famous piece in the collection. She was chosen for her beauty. The Aphrodite of Melos may be the best example of Hellenistic sculpture, or possibly the best example of any classical art form. However, the Aphrodite of Melos was also chosen because of the power of propaganda; her enduring popularity owes as much to an intense French publicity campaign as to her true artistic merit. I chose the Cenatur from Vulci, Nenfro, because of its contrast with the two other Greco-Roman sculptures in the collection. Not only is the Cenatur male, he is also made of stone. The coarseness of his material increases the contrast between the Cenatur and the smoothness of the marble Aphrodite sculptures."
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Chinese Art, 2007.
This paper looks at art in Chinese history and shows the common denominator of classicism and opposition to change.
1,092 words (approx. 4.4 pages), 6 sources, MLA, $ 38.95
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Abstract
The paper explores the Tang Dynasty which was commonly regarded by many Chinese as the most glorious period of Chinese history and the classical era of Chinese art. The paper discusses how the Chinese artistic style remained relatively uniform, in contrast with the levels of transformation evident in Chinese society and history of the period. The paper examines the art during the Five Dynasties and Ten Kingdoms, the Northern and Southern Song Dynasties, the rule of the Mongols and the Ming and the Qing Dynasties. The paper explains that during all these time periods there was a climate that discouraged rather than encouraged radical innovations that could be called revolutionary in the traditional, Western sense of an artistic revolution.
From the Paper
"The open ports during the Tang Dynasty meant that China was exposed to new ideas, from abroad, and the arts, including sculpture and painting, as well as poetry and the art of the traditional Chinese opera. All of these arts were nationally supported. Yet this brief period of openness ended almost as quickly as it began. ("Tang Dynasty," Classical Imperial China, 2006) Also, the concentration of artistic support near the Imperial Court limited the levels of innovation to a fairly select group of artists."
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The Art of India, 2007.
This short paper briefly describes the art of India, highlighting painting, sculpture and architecture.
838 words (approx. 3.4 pages), 3 sources, MLA, $ 29.95
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Abstract
This short paper explores both the art of India and the mysticism behind this art. The author describes the purposes of Indian art, citing the religious and philosophical meanings intertwined within a work. Several architectural landmarks are presented, including the complex of temples at Khajuraho. Specific styles of painting are also described.
From the Paper
" The most prominent feature of Indian art is that it does not attempt a representation of the immediate reality as such, nor does it bring merely aesthetic figurations of it, but that its substance is always blended with the religions and philosophies of India, and therefore pervaded with rich symbolism, with a sum of philosophical concepts and many divine characters. This is why artistic objects in India serve usually more than one purpose - the temples, for example, are not, in terms of style, merely architectural forms, but are closer to sculpture. Also the stupas , were originally small burial or reliquary places , but they are also cosmic diagrams by the special elements of their construction such as the harmika symbolizing the heaven of the thirty three gods , and the yasti , as the axis of the universe , rising through the harmika ,and thus uniting the world with the paradise above."
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Fashion of Architecture, 2007.
This paper discusses the intersection of architecture and fashion in the global environment.
9,227 words (approx. 36.9 pages), 24 sources, MLA, $ 190.95
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Abstract
In this article the writer takes a look at the similarities that exist in architectural design and fashion design in today's highly technologically advanced and globalized society. The writer points out that fashion and architectural design have passed through many phases as design technology has furthered the possibilities in design. The writer notes that it is now acknowledged among experts in the field, that architectural and fashion design intersect quite often in today's environment of designing products that are both attractive and that will serve the owner well. This study is of a qualitative nature and collects data in the form of information in these two design fields and then conducts what is an interpretive analysis of the information garnered from this study.
Table of Contents:
Chapter One
Background
Research Design
Statement of the Problem
Purpose of the Study
Definition of Terms
Chapter Two
The Connection between Fashion and Architecture
Historical Trends in Fashion & Architecture
Impacts of Globalization & Technology on Design
Conclusion
Chapter Three
Discussion of Major Trends & Analysis
Data Collection - A Survey of Modern Designs, Designers, Photos, & Theory
Data Analysis - Criteria: Function versus Image-Statement
An Exploration of a Couple of Modern Japanese Fashion Designers' Work
An Exploration of Hussein Chalayan's Work
Chapter Four
Technology
Importance Of Materials
New Technologies -Quest For New Textiles
How Techno-Textiles Have Increased The Possibilities Of Both Architecture And Fashion
How Do They Work In Practice?
Chapter Five
Conclusion
Is the Interaction Between Fashion And Architecture A Positive Outcome Of Our Modern Life?
Where Do We Go From Here? What Will The Future Of Fashion And Architectural Design Look Like?
Recommendations For Future Research
From the Paper
"Today's architectural design and fashion design work have penetrated each others space. Fabrics are used in fashion design to create texture, color and to bring the design elements together into a whole. Architectural design uses the materials for building in much the same way and for the same purpose as each material, whether in fashion or architectural design creates a different effect on the same design. This research views the clothing of an individual making to shelter and provides a definition of our personal space such as do architectural structures although on a much larger scale. Fashion in clothing has allowed express in society for many millions of years. Generally it is those who have attained status within their cultural grouping that have the power to become trend-setters. Furthermore, color is greatly used as a matter of personal choice. Fashions vary greatly dependent upon age, social class, generation, occupation and geography. Fashion evolves constantly particularly in a capitalist society."
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