| Papers [379-396] of 1926 :: [Page 22 of 107] | | Go to page : <— 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 —> | |
|
|
Artist Vassily Kandinsky (1866-1944), 2005.
This paper discusses Vassily Kandinsky, a Russian-born painter, who contributed greatly to German Expressionism.
995 words (approx. 4.0 pages), 7 sources, MLA, $ 35.95
»
Click here to show/hide summary
Abstract
This paper explains that Vassily Kandinsky's work is often chaotic and formless; however, they are somehow pleasing to the eye as seen in paintings such as "Landscape Near Murnau with Locomotive" (1909), "Black Lines No. 189" (1913) and "Little Pleasures" (1913). The author points out that Kandinsky believed the purpose of painting was to prepare people to think and see in terms of immaterial form rather than perceived objects like apples and nudes. The paper concludes that Vassily Kandinsky, the founder of abstract expressionism, was unique in his successful endeavors to juxtapose color, light, landscape, music, spirituality, nature and other essences of life into his artistic works.
Table of Contents
Introduction and Thesis Statement
Personal Feelings about Kandinsky's work
Biography of Kandinsky
Kandinsky's German Expressionism
The Blau Reiter (Blue Rider) Movement
The Influence of Theosophy on Kandinsky
Kandinsky's Color Theory
Conclusion
From the Paper
"Typically, German Expressionists depicted aspects of real life as they saw it, not just abstraction and spirituality. Also, they painted not so much within a vacuum of pure art but rather to artistically express diverse influences on art and life of nature, spirituality, music, architecture and sculpture. Within that spirit, Kandinsky and Franz Marc co-founded the Blue Rider (Blaue Reiter) movement (1911-14), and along with it, their Blaue Reiter Almanac (1911) and a Blaue Reiter Exhibition (1912), all so-named because of Kandinsky's fondness for two canvases he painted years earlier."
| |
|
Cubist Ideas and the Modernist Arts, 2005.
A look at the link between cubist and modernist art.
1,214 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
»
Click here to show/hide summary
Abstract
The cubist art work has certain attributes which define its construction and conception. These ideas, clustering around these works of art, were applied to other art forms with varying results. This paper explores how these new and original ideas about cubism manifested themselves in the productions of art in other genres.
From the Paper
"The Cubist style must be viewed as an extension of the anti-Romanic, anti-Impressionistic mood expressed by progressive artists in many creative genres in the fin de siecle period and later. As Cocteau wrote in his "Le Coq et l'Arlequin," the artists were sickened "by the vague, the melting, the superfluous"(82). It had its most intensely creative period between roughly 1908 and beginning of the First World War. The most important center for this "reaction" in all of the arts was Paris. Picasso and Braque are generally seen as the seminal artists in this new form called Cubism. They were interested in getting beyond what they saw as the limiting concept of perspective, which the artistic tradition had inherited from the Renaissance."
| |
|
History of Art, 2004.
An analysis of the art history of the Western world.
1,268 words (approx. 5.1 pages), 3 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
This paper discusses the history of High Renaissance art work. The paper examines several pieces of art by artists of the period, such as Raphael, Da Vinci and Michelangelo. The paper explores the popular theme of Madonnas that has come to specifically refer to work that depicts the Virgin Mother Mary. The paper explains that Biblical subjects, such as the Madonna, were very important to Renaissance painters and other artists. The paper contends that other subjects of importance were the Holy Family and the Passion of the Christ. The paper illustrates the use of these themes in the art work discussed.
From the Paper
"During his Florentine years, Raphael painted many numbers of Madonnas. Leonardo did at least forty variations on the theme of the Virgin mother with her child. In his paintings, the Madonna is seen as both extremely human and motherly, but also very majestic. He additionally utilized the concept of Sprezzatura, which is the idea that a person's expression reflects their inner quality. Leonardo gave his Madonnas a look that was very distant and spiritual, like it was completely separated from the material world. In 1506, he painted his Madonna of the Meadow, which was strongly inspired by the style of Leonardo, specifically in the pyramidal structure of the painting. The setting of this painting, as well as the other Florentine Madonnas, is serene and beautiful, with rolling hills and a beautiful sky. The landscape is actually an idealized Tuscan image. John the Baptist as a child is the third figure which created the pyramid."
| |
|
"Mona Lisa", 2005.
A discussion about the secrets behind Leonardo Da Vinci's "Mona Lisa".
1,345 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
Leonardo Da Vinci's "Mona Lisa", also known as "La Giconda", is one of the most well known paintings of the High Renaissance period. This paper explains that part of the reason it has so haunted people is because of Da Vinci's unique ability to capture expressions and facial subtleties that are lost in works by other artists. The paper discusses the theories behind the reasons for Mona Lisa's smile and other theories about who the model herself was.
From the Paper
" The most widely recognized theory as to who the model for this painting was is the wife of Francesco del Gicondo. She is dressed in the modern fashion of De Vinci's time, in Florence. She is seated against a mountain-covered landscape. According to some historical accounts, the young woman that posed was actually named Mona Lisa, and she married the well-known Giocondo in 1495, and Leonardo himself was so in love with the portrait he carried it with him for years."
| |
|
Lorna Simpson, 2004.
An analysis of the works of photographer, Lorna Simpson.
1,049 words (approx. 4.2 pages), 7 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper discusses the works of photographer, Lorna Simpson. The paper compares her to Dorothea Lange of the 1930s, who used photography to document the disastrous conditions for Americans confronted with the Dust Bowl in the West. The paper explains that Lange's images demonstrated the urgent need for government programs to assist these disadvantaged people. The paper highlights the parallel with Lorna Simpson's modern-day photographs that do the same: Document the American blacks and demonstrate their personal societal needs. The paper describes how this Brooklyn-born artist uses black-and-white images to portray the situation of present-day American blacks so that uninformed viewers can better understand these individuals' perception of the world.
From the Paper
"In the 1930s, Dorothea Lange used photography to document the disastrous conditions for Americans confronted with the Dust Bowl in the West. The images demonstrated the urgent need for government programs to assist these disadvantaged people. The photographs told the entire story. Today, Lorna Simpson's photographs do the same: document the American blacks and demonstrate their personal societal needs. This Brooklyn-born artist uses black-and-white images to portray the situation of present-day American blacks so uninformed viewers can better understand these individuals perception of the world. "
| |
|
John La Farge, 2005.
A look at the unique artistic style of John La Farge.
2,310 words (approx. 9.2 pages), 7 sources, MLA, $ 71.95
»
Click here to show/hide summary
Abstract
A brief examination of the art work of John La Farge, who was considered "the most innovative and versatile American artists of the nineteenth century". The paper explains the impact that Japanese art works and Buddhism had on La Farge's style.
From the Paper
"The Japanese culture and art began to influence him in the late 1850s and 1860s, as he married Margaret Perry, niece of the Commodore who had opened Japan to Western civilization and trade. By the time he married her in 1860, he had already begun collecting Japanese art, including prints and watercolors.
As a revolutionary artist, he began to include Japanese artistic ideas in his own works, which may have led to a certain confusion by Western standards of the time. Nevertheless, he made use of Japanese ideas in his work and attempted to make Japanese art and style known to the Western world with his essay on Japanese art, written in 1869. In his essay, John La Farge's describes many of the traditional perspectives of Japanese art, including "the asymmetrical compositions, high horizons, and clear, heightened color of Japanese prints" . Later on, he would be able to see for himself the characteristics of Japanese painting and relate to it with his "An Artist's Letters from Japan", written in 1897 on the occasion of his trip to Japan. "
| |
|
Thomas Gainsborough, 2004.
An analysis of the life and works of artist Thomas Gainsborough.
1,367 words (approx. 5.5 pages), 6 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper presents a brief biographical background of the English artist, Thomas Gainsborough. The paper explains that, although Gainsborough was famous for both portraiture and landscapes, he preferred landscape painting and only painted portraits for a living. The paper focuses on Gainsborough's "M/M Paul Governor and daughters Elizabeth and Dorothea" as an example of the realistic and lifelike nature of his portraits.
From the Paper
"The Yale Center for British Art houses some fine examples of period art, including Thomas Gainsborough's M/M Paul Governor and daughters Elizabeth and Dorothea. According to the Yale Center website (http://www.ycba.yale.edu), the center was presented by Paul Mellon, class of 1929 and houses the largest and most comprehensive collection of British art outside of the United Kingdom. This fact alone was the motivating factor for my selecting the Yale Center in New Haven, Connecticut. The collection of British painting and other artistic mediums contributed to an outstanding exhibition that demonstrates what the Elizabethan period epitomized. There are 1900 paintings and over 100 sculpted pieces housed in the collection. The entire collection is reflective of the founder, Paul Mellon's artistic interests and taste."
| |
|
"Christ Preaching", 2004.
A discussion of one of Rembrandt's etchings, "Christ Preaching".
1,179 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
This paper presents a brief biographical background of the famous seventeenth century artist, Rembrandt van Rijn. The paper explains that his works are known for being dramatic and devoid of the formality that was common among his contemporaries. The paper focuses on one of his many etchings, "Christ Preaching". The paper examines the materials and techniques used by Rembrandt to make this piece of art.
From the Paper
"The Hundred Guilder Print of Christ Preaching was printed around 1649. It is an etching, printed with drypoint and burin, on Japanese paper. It measures 28.1 cm by 38.9 cm, and it was trimmed just inside the plate line. The actual work produced by Rembrandt was an etched plate made of copper for use in printing, therefore he was able to create many duplicates of his work. There are different printings of this piece still surviving today, and many of them were printed in this style with Japanese paper. The choice of this type of paper enhanced the quality of the piece. Every printing done by Rembrandt was slightly different because he applied the ink to the etching by hand, and pressed the paper in different ways. The choice of the Japanese paper, which is an earth-tone rather than white, helps soften the lines of the piece and create a less stark contrast between the blacks and whites. "
| |
|
Nok Terracottas, 2005.
A look at one of the earliest known art forms in Africa, Nok Terracotta.
1,219 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
»
Click here to show/hide summary
Abstract
This paper compares the Nok art from with other African art forms, and identifies specific traits associated with the Nok terracottas. Additionally, the paper discusses the cultural data these sculptures provide about the civilizations that made them.
From the Paper
"Nok terracottas are generally defined by four main characteristics. First, Nok sculptures are created with very distinguishable eye features. The eyes are either triangular in nature, or are a part of a circular form. The eyebrows are sculpted to balance against the lower lip, and often, the eyebrows form a circular pattern around the inset triangular eye frame."
| |
|
Roman Portraiture at Aphrodisias.
This paper is a research proposal to study the interpretation of Roman portraiture at Aphrodisias, Turkey.
2,375 words (approx. 9.5 pages), 15 sources, MLA, $ 72.95
»
Click here to show/hide summary
Abstract
This paper explains that the central trajectory of this research is to explore and discuss the differences in views and interpretations of male and female statues and portraiture at the Roman archaeological site of Aphrodisias, Turkey. The author points out that the contemporary perceptions of the actual and intended meaning and interpretation of an ancient work of art may not be the meaning as it was intended at the time. The paper relates perceptions, which will form an important part of the research are (1) the differences between men and women in Late Greek and Roman sculpture, (2) changing attitudes seen in later Greek and Roman society as reflected in their art especially (3) the sense of freedom in emerging democratization and the concomitant sense of individual independence.
Table of Contents
Introduction
Interpretations and Context
Aphrodisias and Gender Portrayal
From the Paper
"Another theoretical area that will be included in the assessment of the artworks is contemporary awareness of "master narratives', as an important aspect affecting the perception of the works. In brief, this refers to an awareness of a more deconstructive assessment and perspective relating to the possibilities of misinterpretation and the overlaying of modern assumptions over the essential meaning of the artworks. Questions that have to be asked in this regard include: is the emotional response to the sculptures or statues determined by our particular historical and cultural milieu; to what extent is it possible to understand Roman sculpture within the framework in which it was created?"
| |
|
Salvador Dali, 2005.
A discussion on the changing styles of Salvador Dali.
1,245 words (approx. 5.0 pages), 4 sources, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
This paper looks at how Salvador Dali went through several evolutions in his painting career from Impressionism, Cubism, Surrealism and Classicism in his painting. The author points out that Dali's entire life was a journey towards perfectionism as an artist, which was attained through his technique of the Paranoiac Critical Method, a psychological paradigm through which Dali was able to instill paranoia in himself and use his visions in his painting. The paper describes three paintings: "The Great Masturbator" (1929), "The Invisible Man" (1929-1931) and "Slave Market with Disappearing Head of Voltaire" (1940) .
From the Paper
"This precision is used in "The Great Masturbator" (1929). Part of the revulsion and fear mentioned above lies in sex and the power of the sexual partner to dominate, castrate and kill. "The Great Masturbator" is an example of this. Inspired by his father's books on venereal diseases, the grasshopper over the mouth of the artist represents revulsion and impotence. Impotence, castration and masturbation are the subjects of obsession in this painting. The head of the artist metamorphoses into the body of a woman whose oblivious pleasure indicates sexual self-stimulation and fantasy. The man however remains limp, impervious to the pleasure experienced by the woman. Her presence, coupled with that of the grasshopper, indicates that the artist feels that the only sexual safety is in masturbation."
| |
|
The Innovative Ideas of Le Corbusier, 2005.
A look at the architectural vision of Swiss architect, Le Corbusier.
2,357 words (approx. 9.4 pages), 15 sources, MLA, $ 72.95
»
Click here to show/hide summary
Abstract
This paper presents an overview of Le Corbusier's contribution to modern architecture, as well as his role in the larger Modernist movement in contemporary art. The paper contends that the influences that affected Le Corbusier's style and vision in architecture were related to events in history as well as contemporary art and philosophy. In other words, Le Corbusier's architectural vision was part of the artistic movements and milieu of his era and this forms part of the understanding of his influence on architecture.
From the Paper
"Le Corbusier was attracted to the visual arts from an early age. The earliest houses that he designed were similar in design to the vernacular architectural styles popular in the Alps. Later he expanded his artistic horizons and traveled to Europe where he was employed in the offices of the pioneer of reinforced concrete, Auguste Perret. Between October 1910 and March 1911 he worked for the renowned architect Peter Behrens near Berlin. All of these influences were to have an impact on the development of his style and architectural philosophy."
| |
|
Michelangelo's "Roman Pieta", 2005.
A study of how Michelangelo's sculpture, the "Roman Pieta" in Florence, combines the best of his artistic ability.
2,158 words (approx. 8.6 pages), 6 sources, MLA, $ 67.95
»
Click here to show/hide summary
Abstract
Michelangelo is important to the Renaissance movement primarily because of how he changed they way art and artists were perceived. His innovative ideas forced the public to reconsider the quality of art and what it meant to them. This paper discusses how his sensitivity to the human experience allowed him to break free from conventional standards and set a few of his own. It points out that his insight was not mistaken and nothing demonstrates this fact more than his "Roman Pieta" does. This statue embodies Michelangelo's passion for art, perfection, and something new and different all at the same time. His remarkable depiction of Mary as a beautiful young woman gripped by peacefulness rather than horror is its most indelible quality. It explains that the combination of grief and serenity held in Mary's expression is beyond words. With this carving, we find a self-contained form that is restrained and yet filled with flowing lines. The writer concludes that in it lies a world of balance between the vertical and horizontal aspects, life and death, clothed and naked, and grace and grief.
From the Paper
"Michelangelo is also significant to his time because he forced the public to "reevaluate its view of artists" (8). Prior to Michelangelo's arrival, artists were not held in the highest regard. In fact, many were seen as nothing more that mere craftsmen. It was the renown of Michelangelo and his work that elevated the perception of artists. Michelangelo thought highly of artists and believed that they are "superhuman and should not be judged by ordinary standards" (8). He was blessed in that he received great fanfare while he was living and was even alive when the biography about him was published. This style influenced many Renaissance artists so much that they traveled from almost everywhere in Europe to study his technique. It is worth noting that his style is still imitated today. His contributions to the art world changed art and what it meant."
| |
|
Color in Graphic Design, 2005.
This paper is a literature review studying the effect of color, primarily in print media, on the way people feel when they see an advertisement or some other kind of information in the media.
29,980 words (approx. 119.9 pages), 53 sources, APA, $ 249.95
»
Click here to show/hide summary
Abstract
This paper explains that there is evidence that color, especially the viewer's favorite colors, plays an important role in graphic design, especially print media and advertising. The author points out that color has symbolic meaning, which differ culturally: in western societies, white is seen as the traditional color for weddings but, in the Chinese culture, white is used for funerals; and, in America, red is often associated with rage or anger but in China red is used for happiness. The paper relates (1) the importance of graphic designers to study the role of color, how it makes people feel and why this is so significant and (2) the need for more research to understand this phenomena.
Table of Contents
Introduction
Background
Statement of the Problem
Research Questions and Hypotheses
Research Questions
Hypotheses
Importance of the Study
Significance of the Study
Rationale for the Study
Definition of Terms
Limitations of the Study
Validity and Uniqueness of the Data
Summary
Review of Related Literature
Literature on Color in Print Media
History of the Psychology of Color
What Is Your Favorite Color?
The Perception of Color
Color in Graphic Design
Case Study: British Telecom
Case Study: British Gas
Case Study: MacDonald's
Summary of the Literature Review
Methodology
Research Design and Rationale
Data Collection
Data Analysis
Summary
Analysis of the Data
Summary, Recommendations, and Conclusion
Summary
Recommendations
Conclusion
From the Paper
"The favorite color that an individual has is considered to say a great deal about them. It is important here to look at the most popular colors briefly and what they say about individuals. Black is considered to be a color of power and authority. It is also very popular and fashionable because many people that wear black look thinner. Black is considered to be timeless and very stylish, but it also implies submissionFor example, priests wear black to signify that they are submissive to God There are those in fashion that indicate women who were black imply that they are submissive to men but many black outfits are also utilized for aloofness or evil, such as those traditionally worn by villains in many television shows and movies."
| |
|
Revolutionary Art, 2004.
An examination of the artistic styles of Meissonier, Delacroix and Goya.
732 words (approx. 2.9 pages), 5 sources, MLA, $ 26.95
»
Click here to show/hide summary
Abstract
This paper presents a critical analysis of the artists, Meissonier, Delacroix and Goya. The paper explains that they were not only realists, but also patriots and people's artists, as the theme of people took a central place in most of their works. The paper examines three art pieces: Francisco Goya's "The Third of May 1808," Eugene Delacroix's "Liberty Leading the People 1830" and Ernest Meissonier's "Memory of the Civil War (the Barricades) 1849", which show people in the turning point of country's history. Through these pieces of art, the paper explores the horror, tragedy, humanism and optimism of three revolutions.
From the Paper
"Nineteenth century in Europe was a century of changes in political, economical and social structure of society. The course of events was often too sudden for society, oppressed by absolutism of reigned monarchy, to react adequately so it had no other way but only to revolt. France, Spain and other European countries had suffered a long warfare of Napoleon's invasions, they were tired of unbearable social injustice and poverty and so the unrest of society often turned into a legal right of the nation to determine its destiny by revolution. In Spain it was a revolt against the regime of Napoleon who invaded the country and wanted to establish imperial order on its territory. France on the other hand had experienced a set of bloody revolutions and restorations of monarchy starting from 1789."
| |
|
Henri Matisse, 2005.
An analysis of painter and sculptor Henri Matisse and how his work demonstrates that he was the most premier Fauvist of his time.
847 words (approx. 3.4 pages), 3 sources, APA, $ 30.95
»
Click here to show/hide summary
Abstract
This paper describes some of the artistic works of Henri Matisse and explains why his technique, use of color, movement and texture gave him a reputation as the main exponent of Fauvism of his time.
From the Paper
"It is relatively simple to understand how Matisse escaped from the confines of the Impressionists, for all one has to do is view his paintings and explore with the eyes all the subtle and beautiful manifestations within his Fauvist renderings. But in regard as to why he decided to adopt the Fauvist philosophy is less understood unless one listens to the words of Matisse himself-"What I am after, above all, is expression. . . I am unable to distinguish between the feeling I have for life and my way of expressing it. . . The whole arrangement of my picture is expressive. . . everything plays a part. Composition is the art of arranging in a decorative manner the various elements at the painter's disposal for the expression of his feelings. . . All that is not useful. . . is detrimental" (Chipp 131-32)."
| |
|
Raphael, Da Vinci and Michelangelo, 2005.
A paper on the master artists of the High Renaissance: Raphael Sanzio, Leonardo Da Vinci and Michelangelo Buonarroti.
1,418 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper looks at how these masters, by making their figures come alive as if made out of flesh and blood, symbolize the loftiest goals of the High Renaissance. The paper further looks at how the artists created a new artistic profession that exhibited its own rights of expression, its own character and its own claims to greatness within western civilization.
From the Paper
"Within a thirty year span, beginning approximately in 1495, the city of Rome replaced Florence as the Italian seat of artistic pre-eminence. A series of powerful and ambitious popes, most notably Julius II and those associated with the rich and powerful De Medici family run by Cosimo De Medici and later on by Lorenzo De Medici, created a new papal state with Rome as its capitol and artistic center of Europe. These popes embellished Rome with great works of art and invited artists from all over Italy to take on some very challenging tasks. In its duration, the "High Renaissance" (ca. 1492 to 1520) produced works of such authority and magnitude that later generations of artists were forced to imitate it in order to compete with the growing competition within Italy and northern Europe. The various masters of this period had of course inherited the pictorial science of their predecessors, yet they made a distinct break from the past and occupied new and lofty ground that had never been explored before."
| |
|
Pablo Picasso, 2005.
Discusses the life and works of this famous 20th century artist.
1,064 words (approx. 4.3 pages), 3 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
Pablo Picasso is noted by the majority of critics as the most important influence on twentieth century art. By the time of his death in 1973, he had created some 22,000 works of art in mediums that included sculpture, ceramics, mosaics, state design and graphic arts. This paper traces the life of Picasso, from his birth in Spain in 1881 through his brilliant art career and his numerous art 'periods'. The paper examines Picasso's influence on art, including cubism and abstract art and looks at several of his important pieces, including "Les Demoiselles d'Avignon" and "Guernica."
From the Paper
"Most critics agree that Picasso's greatest work came from the thirty years between his 1907 "Les Demoiselles d'Avignon" and his 1937 "Guemica," however, he worked consistently through the war years and through the 1950's and frequently produced work during the 1960's and 1970's, producing powerful paintings and prints (Hughes pp). Often his work "would be folded into series of variations on the old masters and nineteenth century painters he needed to measure himself against, such as Velazquez and Goya, or Poussin, Delacroix, Manet and Courbet" (Hughes pp). Especially during his last years, his work possessed a manic and obsessive quality, as if he believed that this might delay his own mortality (Hughes pp)."
|
|
|
