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Medici Family, 2005.
A discussion of the art patronage of the Medicis during the Baroque period.
2,875 words (approx. 11.5 pages), 8 sources, MLA, $ 85.95
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Abstract
The history of the Medici family in Italy clearly illustrates the difference between a true patron and a collector of fine art. This paper explains that with the collector, new artistic movements are, at times, very difficult to locate, which inevitably leads to the collector amassing works of art based on certain styles and motifs or even specific painters or sculptors from various artistic periods. The writer points out however that with the patron, such as Cosimo I and Lorenzo the Magnificent in the Renaissance and Cosimo III and Cardinal Leopoldo in the Baroque era, the almost in-born desire to vigorously encourage the development and spread of fine art is without competition, for the patron is truly the purveyor of artistic history, at least in western civilization.
From the Paper
"Of course, when the Medici family did finally expire in the mid 18th century, the great artists, such as Michelangelo, Da Vinci, Brunelleschi and Bernini, had also expired and their successors, although very talented and inspirational, did not possess the genius of these men which may help to explain why patronage itself waned after the Baroque era. In addition, it could be said that without the Medici family and its enormous wealth and prestige the Renaissance and Baroque eras might never have existed. Thus, the Medici, along with other prominent art patrons, allowed for the formation of several outstanding art periods which not only helped to create and foster great talent but also made it possible for the common, everyday man or woman to gaze in awe at their works of wonder and contemplate the very nature of their creators and those that supported them without question or authority."
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"Portrait of Dr. Gachet", 2005.
An examination of Vincent Van Gogh's "Portrait of Dr. Gachet."
2,215 words (approx. 8.9 pages), 3 sources, MLA, $ 68.95
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Abstract
This paper examines Van Gogh's painting and explains how the artist impetuously and arbitrarily exploited the new color dimensions of the Post-Impressionist period within the work. The style is examined and the person behind the portrait is explained to be a doctor that looked after van Gogh during the later part of his life.
From the Paper
"As to Van Gogh's painting style which is a very important component of his artistic life, the thickness, shape and direction of his brush strokes created a tactile counterpart to his intense color schemes through thickly-loaded brush moves back and forth or at right angles, giving a textile-like effect; Van Gogh also would take the paint tube and squeeze dots or streaks upon the canvas. This bold, almost slapdash attack upon his canvases, at least in the eyes of his contemporary art critics, was viewed as highly disturbing; thus, it could be said that Van Gogh, through the use of different paint strokes, both infuriated and calmed the viewer."
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19th Century Art History, 2005.
A comparison of two 19th century paintings: Degas' "The Little Fourteen-Year-Old Dancer" and Rodin's "The Martyr."
1,698 words (approx. 6.8 pages), 7 sources, MLA, $ 55.95
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Abstract
An examination of two impressionist artists: Edgar Degas and Auguste Rodin. The paintings are examined for their similarities and differences. The painters' styles are explored and the writer discusses how their techniques were part of the development of impressionist art of the period.
From the Paper
"Rodin, on the other hand, creates not an impression of a feeling, but rather an expression of a concept. Unlike Degas, he pays intense attention to the modeling of musculature, to the exact twisting of the torso, to the squint of an eye or the precise extension and elevation of a tortured leg. While Rodin expresses tough and demanding concepts-it doesn't get much tougher than martyrdom-Degas creates an impression of expectancy, a willingness and readiness to move forward from the slightly uncomfortable position of now to one of greater fulfillment later. This is evident in the posture of the young dancer, and, according to at least some of his biographers, it is also an apt metaphor for Degas' own approach to and feelings about his own work."
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The Beat Generation, 2005.
A discussion of the 'Beat Movement' of the 1950s and how it gave rise to a new counterculture movement.
3,459 words (approx. 13.8 pages), 12 sources, MLA, $ 97.95
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Abstract
This paper explains how the Beat Generation came about, tells how this generation got its name, explains why and in what way it was a counterculture movement that challenged the mechanical existence of the majority and talks about how it effects American society even to this day.
From the Paper
"According to modern mythology, it has been said that the birth of the Beat Generation can be traced back to the year 1944. World War II raged throughout Europe. This was the year of the D-Day landing, and this was the year that the United Nations first came to power, and this was the year that "Lady Chatterly's Lover" by D. H. Lawrence was found to be obscene in the United States, and this was the year in which New York City was flooded by European Surrealists gathering together with American artists and writers, influencing the thoughts and works and direction of the art movements nationwide. This was also the year that Jack Kerouac, Allen Ginsberg, William S. Burroughs, and Herbert Hunckle met in New York City among the artists gathered there, and this meeting around Columbia University and Times Square would lead to the writing of one of the great Beat Generation novels."
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Graphic Design, 2005.
The evolution of graphic design and the influence of the computer and the digital age.
4,551 words (approx. 18.2 pages), 17 sources, APA, $ 118.95
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Abstract
This paper takes a look at the history, development and evolution of graphic design and explains how all of this can best be understood understood in terms of the central function of graphic design - communication.
Introduction
The Evolution of Graphic Design: A Short History.
A Definition
What is the New Media?
The Influence of Computer Technology
The Changing Process.
Typography and Layout
Illustration
The World Wide Web
From the Paper
"Graphic designers often see themselves as essentially communicative artists whose function it is to convey ideas, concepts and information through visual and textual imagery and data using a variety of techniques. It is this central communicative aspect which has enabled graphic designers to cover a wide spectrum of media and mediums and to "work across quite a wide range of fields and with different media: for companies and corporate bodies, in book or magazine publishing, exhibition design, signing and architectural graphics, television graphics, and so on. (Kinross, 1992, p. 73)"
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James McNeill Whistler, 2004.
An analysis of the life and works of artist, James McNeill Whistler.
1,685 words (approx. 6.7 pages), 9 sources, MLA, $ 54.95
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Abstract
This paper provides an overview of James McNeill Whistler's life and works. The paper discusses the function of art according to the artist and presents an analysis of five of his works of art: "Symphony in White, No. 1"; "Harmony in Violet and White"; "Harmony in Violet and Yellow"; "The Lagoon: Nocturne in Blue and Silver" and "Arrangement in Grey and Black, No. 1: The Artist's Mother". A summary of the research is provided in the conclusion.
Outline
Introduction
Review and Discussion
Background and Overview.
The Function of Art according to Whistler.
Analysis and Discussion of Five Works of Art by Whistler.
Symphonies: "Symphony in White, No. 1."
Harmonies: "Harmony in Violet and White" and "Harmony in Violet and Yellow."
"Nocturnes."
Arrangement in Grey and Black No. 1: The Artist's Mother" ("Whistler's Mother").
Conclusion
From the Paper
"James McNeill Whistler was born in 1834 in the industrial town of Lowell, Massachusetts (Julius 1995). The artist's youth and adolescent years were spent in Russia where his father was a civil engineer. Upon his return to the United States, Whistler was nominated for West Point, but his studies were lackluster and he was ultimately dismissed for a "deficiency in chemistry" (Julius 19). In an effort to satisfy his worried mother, Whistler took it upon himself to take his case to the top and visited Jefferson Davis, then Secretary of War, later the Confederate President, in Washington, DC and requested that he either be reinstated to the military academy or else find him a job. As a result, Whistler was assigned to perform coastal survey work as a cartographer where he learned the art of etching that would prove so beneficial to him later in his career (according to Julius, Whistler was acknowledged to be one of the finest etchers since Rembrandt)."
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Still Life Photography, 2005.
Examines the definition of modern still life photography.
4,361 words (approx. 17.4 pages), 11 sources, MLA, $ 114.95
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Abstract
In any era, the term still life means virtually the same thing: "the depiction of objects that lack the capacity for self-governed motion".
In these days of composites, both of subject matter and technique, the term can probably be expanded to include items that are able to move, but for reasons of aesthetics of concept, are treated artistically as if they were inanimate. This thesis applies nowhere better than to still life photography. In considering the ramifications of the term, this paper investigates the forms of western still life leading up to the present-when form and creative media are so often used in ways that were not possible before-to help to define the genre of the contemporary photographic still life.
Paper Outline:
Still Life Photography Today
Still Life Traditions
Paintings, Origins
Photography
Impact of Postmodern Art on Still Life
Impact of New Technologies
Closing Paragraph
Bibliography
From the Paper
"This sort of inclusion opened the way for artists such as Robert Therrien, whose work in the 1990s-a weird wooden table-could also be termed a still life (Herrera, 1997, unpaged). In the same show, a painting by Cezanne depicted a platter of pears tipped onto a different plane than the table and rests on what would be, in normal perspective, air. "The table thus continues one of the great themes of still lifes-echoing previous works" (Herrera, 1997, unpaged). The show itself was called Objects of Desire, and included works by Picasso and Matisse as well as other modern masters, all working in still life, and all working at a time when photography could have paralleled their work and, with its obvious genius for depicting what is rather than what might be, could have overshadowed them."
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Mount Rushmore, 2005.
A brief discussion about why Mount Rushmore is an example of site-specific art.
851 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
This paper explains the concept of site-specific art and proceeds to explain why Mount Rushmore is a perfect example of this concept. It looks at the history of its creation and the impact that it has had on the surrounding area.
From the Paper
"However, Mount Rushmore also changed the environment. When it was begun, there was no road to the cliff face, so one had to be built. Taking six and a half years to complete, in intermittent work between 1927 and 1941, the project employed almost 400 local miners who "built roads, constructed buildings, ran the hoist house, generated power, took measurements, or sharpened thousands of bits for the pneumatic drills. Others set dynamite charges or completed delicate finishing work on the sculpture" (American National Park Network Web site). In short, the creation of Mount Rushmore interacted with the environment in substantial ways; in an environmental sense, it might be thought that these were not always complementary. ON the other hand, if one considers the environment to include cultural and societal components a well as physical, Mount Rushmore was a work of genius for its time. And, while it is regarded as something slightly laughable today, it remains, at the very least, a symbol Americans can mildly ridicule without too much fear of being politically incorrect (the pizza commercial), but one which still inspires awe when the kitsch component is gently shoved aside."
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The Meaning of Art, 2005.
This paper is a personal essay defining the meaning of art as seen in poetry, drama, literature, sculpture, painting music and ancient artifacts.
1,050 words (approx. 4.2 pages), 0 sources, $ 36.95
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Abstract
This paper, which is a personal essay, defines art as a reflection of life conveying experiences in many forms. The author believes that the artist and the audience are essential partners in art because, while it provides the artist a means of expression, it also allows an audience a chance to escape. The paper relates that the artistry of poetry can be seen in what it says and with its form; for example, John Keats wrote lovely poetry that not only said something but also followed a structure, which makes it even more beautiful.
From the Paper
"Some of the representations of art can be seen in literature. For example, no one can mention art, literature, and life without mentioning Shakespeare. Shakespeare's art reflects life in the realistic characters he created. For example, in the character of Hamlet, we see almost every man. Hamlet is a complicated creature who suffers from many struggles. However, the one that truly gets the best of him in the struggle that he experiences internally. Hamlet struggles with himself in a way that almost every human does and many critics consider Hamlet brilliant because he does not resolve any of his problems by the end of the play. This is life. We encounter struggles and problems and many times we do not live to discover a resolution and sometimes we destroy ourselves while seeking a resolution. Hamlet is a work of art because he is so human."
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Buddhist Art, 2005.
This paper establishes a timeline for the period of Buddhist Art and discusses two Buddhist artists and their works.
865 words (approx. 3.5 pages), 5 sources, MLA, $ 30.95
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Abstract
This paper explains that Buddhist Art sprang from the religion Buddhism; dragons, flowers, as well as Buddha himself are portrayed in paintings, statues, shrines, tapestry and many various forms and textures across many centuries of art. The author points out that not much is known about the ancient Buddhist artists, but two 19th century Buddhist artists are Utagawa Hiroshige, born in Tokyo and sometimes known as Ando Tokytaro, and Katsushika Hokusai, a master and genius of the Japanese art of woodblock printing. The paper relates that Buddhist Art continues to influence world art today; Cuiun Matsuda is a modern day Buddhist artist and a Buddhist priest. Chart.
Table of Contents
Statement of Thesis
Introduction
Aniconic Phase (5th Century - 1st Century BCE)
Iconic Phase (1st Century CE to Present)
Ancient Artists
Utagawa Hiroshige (1797-1858) Buddhist Artist
Katsushika Hokusai (1760 - 1849) Buddhist Artist
Conclusion
From the Paper
"Emperor Ashoka of the Mauryan era which was from 322 BCE to 180 BCE is defined by the first clear manifestations of Buddhist art. It was during the first and second centuries BCE that sculptures gained a characteristic of being explicit in representation of Buddha, his life and his teachings. India's representations of the Buddha were the bodhi tree, the footprint, the empty throne, the lions, the columns or the lotus. The lotus was a symbol of purity."
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Wedding Photography, 2004.
An analysis of the changing trends of wedding photography.
5,457 words (approx. 21.8 pages), 18 sources, MLA, $ 133.95
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Abstract
While marriage seems to be exceptionally popular, it is surprising that the primary means of documentation - namely, wedding photography - has received little formal study. To the author's knowledge, no studies exist that indicate the percentage of couples that hire wedding photographers - or in the days before photography, portrait artists. This paper addresses the inception of wedding photography, describes its development and provides a description of recent industry changes including the changes due to digital technology and how other developments have altered the industry.
Outline
Introduction
Inception of Wedding Photography
Traditional Style
Wedding Photojournalism
Black and White Photography
The Artistic Style
Fashion Style
The 35mm Camera Versus the Hasselblad
Digital Photography and the Internet Revolution
The Wedding Album
Conclusion
From the Paper
"Throughout history, the cultural and sacred traditions of marriage have been honored and recorded by most cultures, regardless of religious, political, or geographic differences. It is a relationship that plays an important role in the definition of what a family truly is. Although precise definitions may vary depending on historical era and culture, the concept of marriage typically is a socially sanctioned bond between two people, a bond that unites two people into one ("Marriage", 2004). Given that marriage is universally considered the foundation of family and society, it is not surprising that the documentation of the marriage ceremony and associated celebrations has become an important part of the ritual."
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Claude Monet's "Water Lily" Paintings.
This paper discusses Claude Monet's "Water Lily" paintings, which have had a major influence on contemporary artists.
4,170 words (approx. 16.7 pages), 29 sources, MLA, $ 111.95
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Abstract
This paper explains that Claude Monet's "Water Lily" paintings represent plein-air painting, meaning they were painted outside the confines of the studio, which relates directly to the Impressionistic mode of thinking about art. The author points out that Claude Monet emphasized the visual experience of the sensuously immediate, producing a new kind of art from an unacknowledged, yet most commonplace, kind of visual experience called "the glance". The paper relates that these later Monet paintings are akin to the Abstract Expressionism of Jackson Pollack and Abstractionists like Kandinsky because, in essence, the later water lily paintings are abstract in their concentration on flow, color texture, and movement.
Table of Contents
Monet and Impressionism
Giverney and the Water Lilies
"Water Lilies"
Importance
Figure 1: "Water Lilies" ("The Clouds")
Figure2: "Water Lilies" (1906)
Figure 3: "Waterlilies, Green Reflection, Left Part" (1916-1923)
Figure 4: "Water Lilies" (1907)
Figure 5: Bridge at Giverney. "Le Bassin aux Nympheas"
From the Paper
"In art historical terms Monet was the heir to a departure in style and content in 19th Century painting and was one of the instigators of the new school of French landscape painting. Monet's earlier work signals a break from the past conflict in art between line and color as the dominant aspects of painting. He also began his painting career in an atmosphere which no longer felt bound to paint from a religious and mythological basis - which had previously been seen as essential elements of artistic creation. This meant that the artist felt free to explore new and more expressive methods of artistic creation and "they no longer troubled themselves about composing pictures based on geometric principles. They continued to compose, of course, but they chose their patterns with an eye to pictorial rhythm, and were thereby led to seek out new rhythms."
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The Danger of Theater, 2004.
An analysis of the danger of theater, according to the ideas of Plato, Artaud, and Boal.
4,106 words (approx. 16.4 pages), 5 sources, MLA, $ 110.95
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Abstract
This paper contends that theater can be dangerous on a variety of levels. The paper presents Plato's main concern, that art distracted otherwise reasonable people from using their reason to rule the other faculties. This concern appears to be a prominent feature in the dangers posed by the theater as expounded by Artaud and Boal. Artaud's theater concentrates mainly on the psychological aspect. It places people in touch with the primitive and instinctive to the detriment of reason. While the advantage here is that repressed emotions are revealed to be examined and possibly healed, it is also possible that a permanently broken psyche may result. The paper discusses Boal's theater, on the other hand, that poses a variety of levels in terms of both danger and healing. There is a psychological aspect that may be seen as similar to Artaud's theater. At the psychological level, Boal also addresses the subconscious in terms of dissatisfaction. In extreme cases, this may lead to a breakdown between the desired state and the state of dissatisfaction. The mental and physical aspects of danger are detailed in the paper.
From the Paper
"The theater is probably the medium of art by means of which the most prominent of social sentiments can be depicted. Furthermore the theater lends itself to a variety of forms, including the highly experimental. One of the most recent evolutions in theater has been including the audience in the setting and theme of the play. Indeed, among the most modern thinkers is Augusto Boal, who takes this paradigm a step further in allowing the audience to actively take part in the creation of the very events within the play. The idea that art in whatever form could pose a danger to society and its way of life originates with Plato, whose main concern was with the art of poetry. Plato's thought was embedded in the politics and social structure of his time. According to him, then, the danger of poetry lay in the fact that it could distract citizens from their duties as citizens in the Republic. The role of poetry during Plato's time then was more or less the same as the role of theater today."
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Renaissance Art, 2005.
An examination of three works of art from the Renaissance era, which contemplate the relationship of God to humanity.
754 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
This paper provides a study of 3 paintings: Sandro Bottecelli's "The Birth of Venus," Jan Van Eyck's "Arnolfini Wedding," and El Greco's "The Spoliation, Christ Stripped of His Garments." It examines how the proper and appropriate relationship of humanity to God and the spiritual realm was one of the most vexing questions of the Renaissance era and how these paintings reflect these ideas.
From the Paper
"The style of Bottecelli's "Birth of Venus" is essentially idealistic regarding the human form showing a Venus rising from the half-shell, with a gauzy web of hair around her. (Webart, 2004) Van Eyck shows a contrasting ordinary couple, filled with the physical accoutrements of marriage around them. Some have seen Van Eyck's work as a parody of middle class aspirations, but it can also be seen as a tribute to the couple, much as "Venus" is a tribute to the personal fascination of the Medici Family with Neo Platonism as a philosophy in art."
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The Sheela-na-gig, 2005.
An overview of the historical heritage concerning the Sheela-na-gig sculptures and carvings in literature.
4,730 words (approx. 18.9 pages), 48 sources, MLA, $ 121.95
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Abstract
The discovery and the cataloging of the distribution and significance of the Sheela-na-gig and other architectural antiquities through the Irish Ordinance Survey place the interpretation of these sculptures and carvings in an exciting but problematic light. The purpose of this paper, which investigates some of the problematics of the origins of the Sheela-na-gig's, is to flesh out the central aspects of the Celtic heritage of these figures and to provide a basis for more in-depth discussion of various aspects. The focus is the historical heritage and the way in which this debate impacts the interpretation of the meaning and significance of the figures.
Outline
Introduction: The Problem of Historical Heritage
Early Discoveries and the Irish Ordinance Survey
George Petrie: Antiquarianism and Cultural Nationalism
The Importance of Petrie's Influence
Fethard and the Kiltinan Sheela-na-gig
Patterns of Interpretation
From the Paper
"The origins and antecedents of the Sheela-na-gig are steeped in antiquity. One prevailing view is that these figures relate to the pre-Christian or Pagan heritage of Europe. There is also general agreement that the statues can be seen as part of the stratified accumulation of religious history, with the Christian religion as the latest strata or overlay of the religious and pagan history of the region. This would also imply that the transition from pagan to Christian was not strict and clearly demarcated, with the result that many pagan figures and symbols were retained within the Christian context. Joan Marler verifies this point."
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Computer Graphics, 2004.
An analysis of the use of computer graphics in the film industry, with a focus on the works of the director, David Fincher.
3,141 words (approx. 12.6 pages), 12 sources, MLA, $ 91.95
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Abstract
This paper discusses the intricacies of computer graphics as used by film director David Fincher. The paper examines the graphic techniques evident in a number of Fincher's films, "Fight Club" and "Panic Room," among others. The paper describes the powerful special effects employed by Fincher in his films, exploring how he demonstrates his expertise with the camera, as well as his directorial talents, in the way in which he uses the camera and specialized computer graphics to go into the minds of the characters to read their thoughts and follow their panicked thought processes.
From the Paper
"David Fincher or, more popularly, Davey Finch, was born in the year 1962 in Denver, USA. He was brought up in California. He started his career in movies by working at first in Industrial Light and Magic, and moved on to creating TV commercials. This provided Fincher with the expertise needed for a successful career in directing movies. He directed movies like Se7en in 1995, Fight Club in 1999, and the more recent Panic Room in 2002. (Biography for David Fincher) The movie 'Fight Club' is a psychological thriller as well as a roaring comedy. The comedy in the movie lies in its attitude towards the usual staples of everyday life of the present day like air travel and the auto industry and so on. The audience is asked to sympathize with the director in his views about the state of life in the world, as seen through his eyes. David Fincher works with screenplay by Jim Uhls in this adaptation of a satirical novel by Chuck Paluhniak. The young man in the movie finds himself in a situation that he does not enjoy in the least. He finds himself doing a job he does not like, staying in a place that he does not like, and finds himself craving for something different, some excitement in his life. (Fight Club) "
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Goddess Flora.
This paper discuss the Roman Goddess, Flora, the goddess of fertility, of whom a statue dating back to the year 14 C.E., stands in the Vatican.
1,150 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper explains that the statue of Flora embodies Roman contradictory attitudes towards female fertility and sexuality; sexuality was desirable for familial propagation, but female liberality in the sexual sphere was something Roman society wished to contain. The author points out that Flora, like most Roman deities, has a counterpart in Greek mythology called Chloris, who was mainly known as the relatively minor wife of the West Wind Zephyr, but Flora, who became much more important than the West Wind in Rome, was not Zephyr's wife, but his consort. The paper relates that the connection between sowing and open sexuality might be why prostitutes adopted Flora's festival as their own because, in an interesting twist, at an agricultural festival meant to honor the flowers, land, soil, and toil of farmers, part of the festival honoring Goddess Flora was held during the night, so prostitution became a more important component of the celebration.
From the Paper
"Flora wears a transparent-like garment that emphasizes and conceals the nudity of her figure in its artful drapes and beckons the gazer in a friendly and alluring way. Her palm turned open, as if making an offering. She wears a garland of flowers in her hair, as is typical of all statues of the goddess Flora. She strikes the viewer as both sensual, yet also motherly, traditional and womanly. She is nude and provocative in the way she extends her grasping hand to the gazer, but not intimidating in her beauty."
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Digital Art, 2004.
An analysis of the relationship between technology and art in the evolution of digital art.
4,739 words (approx. 19.0 pages), 66 sources, MLA, $ 121.95
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Abstract
This paper discusses the evolution of the digital art form that emerged as a combination of technological expertise and traditional artistic vision. The paper contends that the emerging digital technologies are creating new forms and genres of art, which are a result of the interaction between traditional views of art. The study of the collusion and interaction between technical knowledge and artistic imagination and innovation forms the central trajectory of this paper.
From the Paper
"An important aspect to consider in the evolution of digital art is the issue of legitimacy and acceptance. While the acceptance of digital art is far from ubiquitous there is now a strong basis for the recognition of digital art forms. (ibid) However, the hectic pace of technological development has meant that many artists feel inadequate in the face of technology that requires, in many cases, training and a mindset which is oriented towards a technological rather than a traditionally artistic point of view. Connected to this issue is the fact that art theory and aesthetics are struggling to assimilate these new technological methodologies."
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