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Propaganda vs. Art, 2004.
Addresses the questions in the debate about propaganda vs. art of whether the artist can be separated from the art he or she produces and to what extent the artist is complicit in the use of their artwork for propaganda purposes.
2,458 words (approx. 9.8 pages), 19 sources, MLA, $ 74.95
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Abstract
This paper argues that, while separating the art from the artist in an analysis of his work is generally a healthy practice, we should question to what extent we should make this separation and why some artists are allowed more leeway than others. The paper also attempts to answer the question, concerning propaganda versus art, about how much we can hold the artist responsible for the use and application of his art for other, possibly nefarious, purposes. The author of the paper argues that the answer lies in intentionality through an understanding of the intent of the artist in the production of the work of art. The paper uses artist Leni Riefenstahl and her work to illustrate the complexity and importance of addressing these questions.
From the Paper
"In debating the difference between art and propaganda one may enter into a minefield of contentious terms and complex ethical issues. The central concern that will be the focus of this paper is the intentionality of art in determining whether it is propaganda or art. If an artist is aware of and complicit in the manufacture and production of art for a specific political agenda, especially one that has been universally condemned, then he or she may be seen to be a propagandist rather than an artist. It is this qualitative and intrinsic difference in the artist and not in the use made of the art that is the central concern. Therefore, the criteria that will be used to ascertain the difference between art and propaganda is the underlying intention of the artist."
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Realism Style, 2004.
Describes the style and philosophy of the class of art known as Realism.
3,295 words (approx. 13.2 pages), 12 sources, MLA, $ 94.95
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Abstract
This paper explains the origins of Realism, its style, its political philosophy, and the subject of Realist art. The paper also discusses three paintings by important Realist artists, Courbet, Jean-Francois Millet and Honore Daumier, in order to illuminate the techniques, political ideas, and style of Realism. Finally, the paper explores the biographies of these three artists to provide a better understanding of why they were attracted to Realism.
Gustave Courbet
Jean-Francois Millet
Honore Daumier
Biographies
Realist and Revolutionary
Avant-garde More Recently
From the Paper
"The Realist style owes its existence to the Realist concept. ?Realism is democracy in art,? Courbet believed. (Nochlin, xiii) Taking that as the credo upon which the works of the artists were constructed, the style itself can be nothing if not anti-academic, anti-historical, anti-conservative. Indeed, whether brushstrokes or pen markings or etching into stone or metal form the image, the underlying attitude is one of freedom, attention to the gross characteristics of form, dismissal of mere decoration for its own sake, and obvious celebration of anything. The self-consciousness of the finely chosen brushstroke or marking is gone, in favor of a brushstroke or marking that favors expression of the interplay between what is seen and the seer. Gone is any demand from outside the artist to make things appear lovelier, grander, more stately than they perhaps really are. It is, in short, art with the warts painted in. It is the ?attempt to render in paint that exists in three dimensions.? (Parlez-vous Web site) It is, moreover, a less light-filled art than what had gone before, the Romantic style, and what would come after, Impressionism. It used the colors of the palette that corresponded to the nature of the subject matter, and the subject matter had changed from nobility in shining satins to the peasantry in rough and dirty woolens and linens. It might be fair to say that Realism was a portrait of reality gone down market one full step, for the painters themselves were, by and large, firmly bourgeoisie. So it might also be reasonably concluded that Realism is a style depicting ?what is? from a viewpoint that could easily look down were it not rooted in an egalitarian philosophy and a compassionate attitude."
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Tragedy in Art, 2004.
A look at how the concept of tragedy as viewed by philosophers is depicted in art.
1,446 words (approx. 5.8 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper portrays that Pablo Picasso?s 1937 mural, "Guernica: Testimony of War", is the epitome of tragedy in art as described by David Hume in his essay, "Of Tragedy".
From the Paper
"The mural is based on an incident that happened in 1934. Hitler had come to the aid of Francisco Franco by sending planes to destroy the non-military village of Guernica in Spain's Basque region. The entire town was decimated by the three hour siege. ?Picasso found himself interested not so much in what the bombing and burning of Guernica meant politically, but rather what they meant in metaphor, what they meant in the context of individual human lives. He wanted to address emotively the destruction of his beloved country, and he already possessed a personal visual language with which to do so, one anchored in the violence, suffering, and passion of the bullring, as well as in the centuries-old Spanish belief in the essential tragedy of life, one embodied by the figure of a grieving woman, La Llorona? (Martin 38). "
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The Uncanny of Freud, Urban Life, and Contemporary Art, 2004.
A look at Freud's definition of the uncanny as explained in his 1919 paper, "The Uncanny".
2,346 words (approx. 9.4 pages), 27 sources, MLA, $ 72.95
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Abstract
This paper presents an overview of several interpretations of Freud's definition of the uncanny and then takes a look at how it relates to contemporary thought and postmodern theory and art.
From the Paper
"The uncanny is created or emerges in that fissure formed by a tension that results from a collapse of fixed certainties and accepted familiarity. Central elements in the idea of the uncanny, which has been adopted by the post-structural community and by elements of contemporary art, includes the idea of dislocation, de-centeredness, the un-homely and nothingness in place of habitual identity. Furthermore, the meaning of the uncanny has the potential to disturb the logocentric views of modernism."
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Michelangelo?s ?David?.
This paper is an essay, which discusses the design elements of Michelangelo?s ?David?.
1,240 words (approx. 5.0 pages), 0 sources, $ 42.95
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Abstract
This paper explains that Michelangelo?s sculpture of David is an excellent example of how an artist can combine the principles of design to create a masterpiece: balance, unity, movement, pattern, emphasis, rhythm, and contrast. The author points out that the visual equilibrium of the sculpture, or its balance, is asymmetrical; the statue is shaped with an ?S? curve, which combines the elements of balance and grace. The paper relates that the element of pattern in David reveals Michelangelo?s genius of human anatomy, for example, the veins in David?s right hand.
From the Paper
"Michelangelo also displays an excellent use of contrast in David. David?s hair is wavy and his skin is smooth. Contrast can also be seen in the wrinkles on David?s face, the veins in his hands, and in the texture of his slingshot. The form of the statue also plays with shadows and light, which gives it a realistic feel. In terms of contrast, Michelangelo?s David is true to human form. In addition, Michelangelo was careful not to add too much contrast to David. This could explain why David is not wearing any clothing or shoes. Too much contrast would certainly diminish the physical beauty of man that Michelangelo wished to emphasize. From this viewpoint, it is easy to understand why Michelangelo utilized a very limited amount of contrast in his sculpture."
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Henri de Toulouse-Lautrec, 2004.
A look at the life and artwork of Henri de Toulouse-Lautrec.
905 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper provides a brief biographical sketch of the life of Toulouse-Lautrec and then discusses and analyzes some of his art. The paper describes some of the influences on Toulouse-Lautrec's art, the uniqueness of his techniques and style, and the period when he was at the height of his career.
From the Paper
"Henri de Toulouse-Lautrec was born in Albi, France on November 24, 1864 to an aristocratic family. After breaking both his legs in separate accidents, it was discovered he had an inherited bone disease, and his legs never grew to their full potential. He enjoyed art, and in 1885, he began to exhibit and published his own work. Toulouse-Lautrec?s work was exhibited throughout Paris and included exhibitions at the Salon des Independents in Paris and Les XX in Brussels, Belgium. At the age of 36, he died of alcoholism and syphilis on Sept. 9, 1901."
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"St. Jerome in his Study? by Albrecht Durer.
This paper analyzes the engraving, "St. Jerome in his Study? by Albrecht Durer, which is located in the Ball State Museum of Art in Indiana and the Clark Art Institute of Massachusetts.
1,515 words (approx. 6.1 pages), 0 sources, $ 49.95
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Abstract
This paper explains that Durer, a German artist who spent much time in Nuremberg, was part of the Northern Renaissance Gothic movement, which centered on Germany and the Netherlands in the 15th and 16th centuries. The author points out that this work is quite interesting because it not only shows the room in such detail, but also because of the items the artist included in the work. The paper stresses that ?St. Jerome in His Study" draws viewers into the work, giving a differing view every time they look at the piece.
From the Paper
"What is so miraculous about this piece is the detail Durer showed in the room. The windows are made up of tiny circles of glass, and their shadows radiated into the room, showing their makeup and the great attention to detail. The wooden ceiling is so realistic viewers can see the knots and grain of the wood, and a variety of items hang on the back wall, indicating that St. Jerome does have other pastimes, such as gardening, to keep him busy. The dominant colors in this work are black and white, while of course there are a variety of grays used in shadow and light. The starkness of the engraving gives a high degree of naturalism and realism to the print, and focuses directly on the man and his work, which is the main subject of this work."
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Personification in Roman Statuary, 2004.
A discussion of the distinct characteristics of Roman portrait statues.
1,547 words (approx. 6.2 pages), 5 sources, MLA, $ 50.95
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Abstract
This paper looks at the history of Roman portrait statues, their characteristics, and what influenced the development of this art. The paper describes several famous statues and the emphasis on realism and idealism that can be seen in the artwork.
From the Paper
"During the period of crisis in the Roman Republic when the Greek influence on art became increasingly strong, Roman art began to emerge as an entity in itself. In 146 B.C.E., a sculptural style came into being that is generally known as Greco-Roman, a term which indicates that the two styles cannot be readily separated from each other. Much of the original sculpture of this period was produced by Greek immigrant artists, but the growing Roman fascination with individual traits of personality is apparent in their portrait sculpture, a field in which the Romans made one of their most original contributions and in which they achieved a very typical, uncompromising and often flattering realism. But the idealism of Greek art continued to captivate the Romans, for great numbers of Greek statues stood in the Roman forums and in both public and private buildings."
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Botticelli and the Italian Renaissance, 2004.
An examination of how Botticelli's painting, "Mars and Venus", is characteristic of the early Italian Renaissance period.
777 words (approx. 3.1 pages), 3 sources, MLA, $ 27.95
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Abstract
"Mars and Venus" by Sandro Botticelli is a typical example of the art of the Early Italian Renaissance. The writer explains how the painting depicts the relaxed goddess of love, Venus, looking over the sleeping form of Mars, the god of war, showing the power of love to conquer violence and war. It points out that "Mars and Venus" falls neatly within the themes of the Italian Renaissance, which focused on the classical works of both Greek and Roman material. The painting also illustrates Botticelli?s ability to capture muted skin tones and create a fantastic and dreamlike atmosphere.
From the Paper
"Born Alessandro di Mariano Filipepi in 1445 in Florence, Italy, Sandro Botticelli became one of the most noted artists of the Early Italian Renaissance. Botticelli was known for his commissions for major churches in Florence, as well as his famed wall frescos on the Sistine Chapel of the Vatican in Rome. He painted a number of famed religious paintings, including "The Adoration of the Magi", "Madonna of the Pomegranate", "The Cestello Annunciation", as well as a number of paintings that depicted Roman and Greek legends, including "Primavera", "The Birth of Venus", "Mars and Venus" (WebMuseum)."
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Cindy Sherman, 2004.
A discussion of the life and work of Cindy Sherman, artist and photographer, and how she focuses her artistic talent on herself.
1,987 words (approx. 7.9 pages), 4 sources, MLA, $ 63.95
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Abstract
This paper looks at the work of Cindy Sherman, a famous American photographic artist. It explains that the main focus of her work is herself. By turning the camera on herself, she symbolizes the complexity of being female through images that simultaneously shock and challenge the viewer. The writer points out that, by creating close-up images, she succeeds in creating a sensation of exaggerated nearness, yet dispels any feeling of closeness or intimacy. Her work creates a tension between familiarity and strangeness. The question of female identity is also a central concern that is explored.
From the Paper
"Sherman rarely grants interviews and seldom allows herself to be photographed out of character. Her work has been exhibited in more than 75 solo and as part of over 150 group exhibitions. Sixty-four museums collect her prints. Today, her prints sell for between $20,000 and $50,000. A print from the Untitled Film Stills series was recently auctioned by Christie's for a record $190,000 - an unprecedented figure for a living artist/photographer. In 1996, New York's Museum of Modern Art paid $US1-million for the complete Untitled Film Stills series."
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Influence of Japanese Prints, 2004.
A look at the influence of Japanese printmaking on the Impressionist and Post-Impressionist artists.
3,402 words (approx. 13.6 pages), 9 sources, MLA, $ 96.95
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Abstract
This paper examines the way in which Japanese printmaking, especially ukiyo-e prints, allowed Impressionist and Post-Impressionist artists, such as Vincent Van Gogh and Paul Gauguin, to depart from the ?photographic realism? that was part of European painting before photography was invented. The paper also includes some images of the Japanese prints, as well as images of the work of some of the Impressionist and Post-Impressionist artists.
The Influence of Japanese Woodblock Prints and Western Photography
The Artists Themselves
Conclusion
From the Paper
"Ukiyo-e prints had something in common with the also increasingly popular photograph; neither one allowed the superficial depth of an oil painting or even a pastel. In addition, both media?the woodblock of the Japanese print and the paper and emulsion of the photography?produced relatively sharp edges compared to those produced by paint, and particularly by paint as used by the Impressionists, in more freehand style than had ever been seen before. So, at exactly the time that French artists, the Impressionists, had finally gotten away from the formalism that had marked the previous centuries of fine arts, two influences arrived to return some formality to the practice of art. In the case of photography, it was a simplistic realism produced by the rudimentary equipment that could not, at that point, capture nuance quite as well as modern photography can. Until the Impressionists, realism has been the aim of western artists, especially since the discovery of perspective in Italy during the Renaissance. While the definition of objects in photography was, obviously, realistic, the expression of them on the paper often was reduced almost to abstraction, with the necessarily highly contrasting lights and darks produced by early techniques and equipments. The very pronounced areas of positive and negative mimicked what could be produced by the Japanese woodblock ukiyo-e printing process. And that, in turn, influenced composition, even after the interesting experiments of Gauguin as well as Cassatt?s mode d?emploi of the drypoint and aquatint techniques."
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Icons, 2004.
This paper discusses the significance of the art form called icons in Eastern Christianity.
1,120 words (approx. 4.5 pages), 4 sources, MLA, $ 38.95
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Abstract
This paper explains that, ever since the 8th century, icons, which are religious paintings on wooden panels used in Greek Orthodox, Eastern Orthodox, and Russian Orthodox churches and homes, play an important devotional role in these settings. The author points out that the Orthodox Church is considered an iconic pattern of the kingdom of God, and the icons are meant to remind worshippers of the work God?s saints have accomplished. The paper relates that, in the art world, these icons are considered an art form worthy of exhibitions; in the Orthodox Church, they are not only considered teaching tools for the illiterate, but also a window to heaven for all worshippers.
Table of Contents
Introduction
Problems with Icons
Contribution of Icons to Religion
Relevance of Icons for the Contemporary World
From the Paper
"It is unlikely most people would venerate icons these days. It is unlikely modern people venerate much of anything. But it is possible to see the impact they have on the modern world when one considers that they are often seen to weep, or to produce drops of blood, as noted above. Whether the tears or blood are real is almost immaterial, which seems to be what the Greek Orthodox bishop was saying. It seems that he might have been saying that what was important abut the incident was that a large group of people believed in the action, and by extension, believed in the sanctity of the icon. They believed that the icon was a true representation of at least the characteristics of the saint depicted. They did not believe, then, that it was the icon itself doing the work, but rather the ?ascended spirit? of the person depicted."
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Ancient Greek Art, 2004.
This paper discusses ancient Greek art in the period between about 580 B.C. and 450 B.C. with examples of pottery and statues from this period.
2,250 words (approx. 9.0 pages), 3 sources, MLA, $ 69.95
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Abstract
This paper explains that during this period both deities and ordinary mortals were depicted, but there was no homogeneity of technique, which ranged from a very natural and sculptural pottery in amphorae to a more studied and artificial style. The author points out that three of the objects represent tools. The amphora stored wine, the lekythos was used during religious ceremonies, and the krater was used to serve punch made from wine. The paper relates that, unlike the amphora, the lekythos style has only one handle, a more slender neck than an amphora, with a wider mouth, and probably held oil or perfumes, a claim that is advanced because they were often found in and around tombs that were excavated from ancient homes.
Table of Content
Background
Pottery
?The Bateman Amphora ?
?The Dipylon Amphora?
?Douris Lekythos?
?Bell Krater?
Statues
?Athlete Making an Offering?
?Kouros?
From the Paper
"A late example, this torso--which is all that is left?is actually less well modeled than the "Athlete". The belly and rib cage, in fact, appear to be stylized, almost abstract. It may be that the work has weathered. But probably, the more geometric, and less curvilinear, detailing on this statue was the result of a transition between the drapery and highly stylized posing of earlier eras, including the ?dark times? and the early Archaic period, to the more abundantly natural depictions of the statuary of the Classical period. Kouri, which means ?youths,? was an art form that didn?t last very long, only about a hundred years. It is thought, nonetheless, that they represented gods, warriors and, of course, athletes."
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Three Baroque Artists, 2004.
Analysis of three famous paintings: "Rape of the Daughters of Leucippus"; "The Descent from the Cross"; and "The Death of the Virgin".
1,871 words (approx. 7.5 pages), 7 sources, MLA, $ 59.95
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Abstract
This paper introduces, discusses, and analyzes three works of art: Peter Paul Rubens's "Rape of the Daughters of Leucippus" from 1618; Rembrandt Van Rijn's "The Descent from the Cross" from 1634; and Caravaggio's "The Death of the Virgin" from 1605/6. Specifically, the paper contains an opinion and assessment of each of the works.
From the Paper
""Rape of the Daughters of Leucippus" is an oil on canvas painting, measuring about 88 x 82 7/8 inches, and the original resides in the Pinakothek Museum in Munich, Germany. This painting portrays the abduction of two nude women by two large and powerful men, with their stallion rearing in the background, and a cherub hovering near the edge of the painting. The colors are rich and vibrant, from the natural skin tones of the women, to the tanned and burly beards of the men. Action and upheaval are at the center of this work ? it is clear the women are desperately fighting the men, and it is clear the men are more powerful than the women, and will carry them off to their fate. Paradoxically, the scenery in the background of the painting portrays a pastoral and peaceful scene of a landscape at sunset, in direct contrast with the activity and violence at the center of the painting. Rubens uses light and shadow to illuminate the action, while downplaying the scenic background, and the effect of the painting is emotional and disturbing. The overall quality of the work is soft and "painterly," which creates a sensual overtone."
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"Starry Night", 2004.
An analysis of Vincent van Gogh's painting, "Starry Night".
1,587 words (approx. 6.3 pages), 3 sources, MLA, $ 51.95
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Abstract
An analytical discussion of Van Gogh's painting. The paper examines the artistic styles of the time and looks at "Starry Night" in this context.
From the Paper
"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. According to Van Gogh, as mentioned in a letter to his brother Theo, ?Instead of trying to reproduce exactly what I have before my eyes, I use color more arbitrarily so as to express myself forcibly? and then adds that the color in his paintings is ?not locally true from the point of view of the realist, but is there to suggest the emotion of an ardent temperament? (Tralbaut, 1969), which indicates that Van Gogh?s color schemes are ambiguous, meaning that they have the capacity to overwhelm the viewer to the point of utter confusion while expressing a strange calming effect almost as if the viewer was experiencing lucid dreaming."
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Post-Modernism, 2004.
This paper discusses the philosophy of post-modernism, a complicated set of ideas, which are a reaction against failed modern thought without a clear goal for future direction.
3,465 words (approx. 13.9 pages), 9 sources, APA, $ 97.95
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Abstract
This paper explains that post-modern sociology and culture has arisen from the after-effects of modern thought; just as values clarification and situational ethics were watch words of the 1980s, post-modernism has become the self-identification moniker of the 21st century. The author believes that the individual is now defined in terms that are important to the individual, rather than in terms of his relationship to the surrounding culture. The paper points out that the term 'post-modernism' has its origins in architecture and art; the post-modern artist grew tired of the traditional means and, in the case of the extreme post-modern artists, accepted the premise that life itself was meaningless.
Table of Contents
Introduction and Post-Modern Definition
Post-Modern Sociology and the Resulting Contradictions
The Self as Social Construction in the Post-Modern World
Post-Modern Individualism as Products of Self-Construction
Power and the Post-Modern Self
Post-Modernism and Responsibility
Conclusion
From the Paper
"Previous generations have sought to bring order and organization to the understanding of self, individualism and personal identify. The postmodernist revels in disorder, and a lack of consistent structure. The postmodern thought system has tired of looking for consistency and meaning in everyday life. Through disappointments with society, and with self, postmodern critical thinkers look to self for guidelines for life. No longer is the goal of a unified culture held as a workable or even desirable goal. Because too many people groups have varied desires and experiences of that same culture, the idea of a homogeneous self identify within the larger social order has been disguarded. The upper middle class business person can never have the same experiences of life as the inner city child growing up on welfare."
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The Mexican Muralist Movement, 2004.
This paper discusses the Mexican Muralist Movement, which followed the Mexican constitution of 1917.
3,310 words (approx. 13.2 pages), 5 sources, APA, $ 94.95
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Abstract
This paper explains that, by the early 1920s, Mexican Secretary of Education Vasconcelos ensured the creation of an artistic renaissance in which Mexican artists reinterpreted Mexican history in accord with revolutionary principles, locating major works of arts on the walls of public buildings and, thus, making them accessible to the most humble and unlettered of Mexicans. The author points out that Mexico became a destination of choice for Americans and Europeans with a wide variety of leftist views, ranging from liberalism to communism. The paper explores the work of Diego Rivera, unmistakably a major light in the Mexican Muralist Movement, and his wife Frida Kahlo, who was not a muralist, but who retained some of the essential characteristics that defined the Mexican Muralist Movement.
Table of Contents
Background
Spiritual Revolution
Cross-Pollination via Admiration
A Different Sort of Revolution, a Different Sort of Art
Foundations of the New Art
Diego Rivera
Frida Kahlo
From the Paper
"Others besides Delpar regard this as ?the most fascinating phase of the whole revolutionary movement?.the attempt to readjust the spiritual and cultural background of an entire nation in accordance with the revolutionary changes that the machine age had produced.? Vasconcelos expanded cultural activities widely, including archaeology, ancient history of Mexico, religion, literature, music and the visual arts. Until then, none had ever been developed as integrated parts of the nation?s cultural heritage. The most vital and strongest to emerge, and one that has been uniquely identified with Mexico, is mural painting."
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?Cupid Chastised?, 2004.
A review of Italian artist Bartolomeo Manfredi?s oil painting, ?Cupid Chastised?.
1,674 words (approx. 6.7 pages), 3 sources, MLA, $ 54.95
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Abstract
This paper examines how one of the most extraordinary aspects of the Italian artist Bartolomeo Manfredi?s ?Cupid Chastised? is the way that the 1605 painting in oil on canvas resembles not so much a rendition of Greek mythology to the gazer?s immediate glance, but seems to represent more an ancient scourging, similar to the Stations of the Cross. It discusses how war and discord are, indeed, set against one another in such a way that the common ways of telling myths about the goddess Venus are rearranged to improve the image of the woman and to highlight the ordinary quality of all of the gods and goddesses.
From the Paper
"In ?Cupid Chastised? for example, Venus appears not like a beautiful goddess of love, but like an ordinary Italian woman caught in flagrente delicado with a man other than her husband. She half-kneels, one breast bared to the viewer, but in shadows, pleading for her lover?s skin and life while her angry husband Mars, clothed in red, flagellates the prostrate Cupid, lying there, looking young and vulnerable. Despite the stated presence of the other gods, laughing at Mars in the myth recounted as the painting?s background, the focus of the painting is purely domestic and intimate, and the viewer of the work feels as if he or she is spying upon the married couple and Cupid, rather than witnessing a larger social drama."
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