| Papers [523-540] of 1926 :: [Page 30 of 107] | | Go to page : <— 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 —> | |
|
|
"The Valley of the Fallen", 2004.
Analysis of the Francoist monument and mausoleum in central Spain, known as "The Valley of the Fallen".
3,641 words (approx. 14.6 pages), 9 sources, APA, $ 101.95
»
Click here to show/hide summary
Abstract
This paper uses the Francoist monument, "The Valley of the Fallen" (Valle de los Ca?dos), as a case study for analytical techniques associated with memory studies, cultural history, and reception theory.
From the Paper
"The Spanish Civil War ended, after three years of often brutal fighting, with the total victory of the Nationalists in March 1939. The decree announcing the foundation of the monument was dated 1 April 1940, one year precisely after the famous telegram in which Franco had signalled the end of the Civil War with the declaration ?the war is over?. The first of April, which became known as the ?Day of Victory?, was also the date upon which the completed Valley of the Fallen was eventually inaugurated, in 1959. Franco himself chose the site for the monument, after a lengthy search: the dramatic valley of Cuelgamuros in the granite foothills of the Sierra de Guadarrama, thirty-five miles north-east of Madrid."
| |
|
African Art, 2004.
Takes a look at African art forms, with a focus on art from Benin and Sierra Leone.
908 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
»
Click here to show/hide summary
Abstract
This paper talks about some of the art produced in Benin and Sierra Leone and why so much of the more ancient art of that region no longer remains. The paper then describes art from Benin that is approximately 500 years old and more recent artwork from Sierra Leone made in the 19th century. The naturalistic heads and bodies of the Ife tribes of Benin and the Nowo masks from Sierra Leone are described, and the materials and techniques used are explained as well. Images of both types of art are included with the paper.
From the Paper
"Art from Benin, located in the rainforests of Nigeria on the coastal plain west of the Niger River, first came to the Western world in 1897, when members of a British expedition took out thousands of objects as war plunder after the English conquest. Through government and private sales, Benin sculptures were soon found on the shelves and displays of museums and personal collections in England, Europe and America (Ben-Amos, 9). The art of Benin is unique in Africa, due to its unusual makeup of cast brass and carved ivory. Much of artwork from this country acts as a heritage to the Royal Kingdom of Benin, one of the greatest times in the continent?s history (Ezra, 2)."
| |
|
Prehistoric Cave Art, 2004.
Discusses the discovery of cave art in Europe and Africa.
951 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
»
Click here to show/hide summary
Abstract
This paper looks at the relatively recent discovery of cave art and how many experts were, at first, skeptical of its authenticity. The paper describes some of the art found and how it was accidentally discovered, as well as how it finally came to be recognized as authentic Paleolithic art.
From the Paper
"Despite being the most ancient of all human artistic forms, cave art was discovered only within the last one hundred years or so, usually by accident and by amateurs. In 1879, near Santander in northern Spain, Marcelino de Sautuola was exploring with his little daughter the Altamira caves on his estate. Since the ceiling of the debris-filled cavern ?was only a few inches above Marcelino?s head, it was his daughter who was first able to discern the shadowy forms of painted beasts on the cave roof? (Berenquer, 25). De Sautuola was the first modern man to explore this cave and he was certain that the paintings dated back to prehistoric times. Archeologists, however, were highly dubious of their authenticity, but in 1880 the Altamira paintings were officially dismissed as forgeries. In 1896, at Pair-non-Pair in the Gironde district of France, more paintings were discovered that were partially covered by calcareous deposits that would have taken thousands of years to accumulate and soon after, these paintings were recognized as authentic by the experts. The caves at Lascaux near Montignac in France were discovered accidentally in 1941 by two young boys who were playing in a field. Their dog chased a ball down a hole and disappeared, and the boys then followed the dog down into the caves."
| |
|
Renaissance Art, 2004.
This paper discusses Renaissance art, specifically "The Judgment of Paris" by Lucas Cranach the Elder and "The Death of the Virgin" by Caravaggio.
960 words (approx. 3.8 pages), 4 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper explains that both paintings represent a distinct style of Renaissance art, but each is from a different period and illustrates the differences that can occur during the same artistic period and the commonalities that hold the period together. The author points out that Cranach's work added much to the German Renaissance. He was the first painter to create full-sized portraits, rather than just portraying the head and shoulders, and the first to create erotic nudes, which were quite popular with private collectors. The paper relates that the many commonalities in these paintings, even though they represent different times in Renaissance artwork, are the use of great detail and the effects of lighting.
From the Paper
"The first painting, "The Judgment of Paris," is tempera and oil on wood. It measures 40-1/2 by 28 inches, and the artist, Lucas Cranach the Elder, painted it sometime around 1528. Cranach was a German painter who lived from 1472 to 1553, and painted in the Northern or German Renaissance style. This painting is executed in the natural style, blending the figures in the foreground with the surrounding landscape. The detailed landscape behind the figures is as well executed as the figures, with detail that draws the eye from the figures to the background and back again. The background even contains a medieval palace on the edge of a soaring cliff, along with a medieval village off in the far valley, with a sailing ship floating peacefully at the village's waterfront."
| |
|
Changes in the Use of Narrative in Early American Cinema, 2004.
Describes how film, once perceived as a new and innovative form of technology, has evolved into what many consider to be a form of art.
967 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper explores the evolution of film from a technology to an art form. The changes that took place in filming technology, the changes in the approach to filming, and changes in attitudes towards film are cited as reasons why the early perception of film changed from that of a new technology to that of an art form. The paper also talks about how the introduction of the narrative helped enforce the growing belief that film was an form of art, not just another new technology.
From the Paper
"Although it may be difficult to conceive of in our modern era, as film has taken its place alongside the long-accepted artistic mediums of painting and sculpture as an ?art form,? during the early era of silent film this was far from the case. At the beginning of the 20th century, film had the status more of a modern technological curiosity or ?freak show? rather than the status of art. The earliest works of film of the very end of the 19th century encouraged the viewer to simply marvel at the ?moving picture? before his or her eyes, almost regardless of its content. Quite often these early clips of film had no narrative to speak of. The purpose of such shorts was to simply show the nature (and the limits) of the medium and to capture, however imperfectly, dancers, actors, and other noteworthy individuals of the day in motion, much like a moving newspaper."
| |
|
Henri Matisse, 2004.
Discusses the life and works of artist Henri Matisse.
897 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper provides biographical information on artist Henri Matisse and discusses his artistic career. Several of Matisse's works of art are reviewed, and influences on his work are discussed, as well as the influence that Matisse has had on the world of art today.
From the Paper
"Henri Matisse (1869?1954), a painter, draughtsman, sculptor, printmaker, designer and author, came into the world of art comparatively late in his life and made his reputation as the main exponent of fauvism, the first avante-garde artistic movement of the 20th century. As Russell T. Clement points out, fauvism ?was influenced by non-European cultures that were part of the new colonial dominions as found in Africa, Polynesia and Central and South America which encouraged more personal forms of expression than had been known in the West? (89). His career seems to have begun in 1891 when Matisse registered at the Academie Julian and prepared for the entrance exam to the Ecole des Beaux-Arts despite his father?s objections to set his life course on the study of art. In 1892, Matisse was invited to join the studio of Gustave Moreau and he remained here until his marriage to Amelie Parayre in January of 1898."
| |
|
Preferences in Art, 2004.
An examination of why human beings favor hand-drawn sketches over computer-aided drawings.
4,587 words (approx. 18.3 pages), 14 sources, MLA, $ 119.95
»
Click here to show/hide summary
Abstract
This paper takes the position that hand-drawn sketches activate long-term memory issues and experiences that the viewer of the sketch can identify with. There are psychological aspects at work that most individuals have never considered or studied. Because of this, it is important that the issue be examined so that these aspects can be identified and determined. Only through this examination will it be possible to determine what actually makes people more interested in hand-drawn sketches than in those created by computers, and only through examination can the psychological considerations be discovered and analyzed. This paper looks at these psychological issues and the reasons behind the stronger interest in hand-drawn sketches versus computer sketches to the extent that this is possible, given the scarcity of literature on the subject.
From the Paper
"Despite this, there are no studies to be found in appropriate and reliable journals and therefore it becomes necessary to study of what is available which is generally related to opinions of individuals and how they feel about hand drawn sketches and other images when compared to computer-generated images. Some of this information can be considered reasonably reliable because it comes from animators and other individuals in the business who would be more knowledgeable about these things. However, some of the information also comes from others that would not have knowledge about this issue and therefore rely only on how they feel when dealing with a choice between hand drawn or computer imagery."
| |
|
Photographer Jerry N. Uelsmann, 2004.
This paper discusses the impact of technology on the art of American photographer, Jerry N. Uelsmann.
2,250 words (approx. 9.0 pages), 10 sources, MLA, $ 69.95
»
Click here to show/hide summary
Abstract
This paper explains that Jerry N. Uelsmann, born in 1934, is one of the pioneers of using darkroom and digital computer techniques. The author points out that, when shooting, Uelsmann begins with an image, builds upon it through the shoot, and then builds upon it even more in the darkroom and on the computer, rather than let any predetermined vision set the course of his work. The paper concludes that, in its artistic development, digital technology likewise will build upon works such as Uelsmann.
Table of Contents
Art versus Science: a Theoretical Overview
Art and Science Today
Overview Jerry N. Uelsmann?s Photographic Vision
The Digital Revolution
From the Paper
"The transmission of photography has thus been changed because of digital use in the ability of images to be juxtaposed and fused, creating even more and newer ways of envisioning reality. Digital photography?s use of cutting, melding, and blending, has enabled the creativity of new photographic minds and enabled the ease of transmitting the visions of artists into the photographic medium, beyond the page, beyond paint and physical clay. It has also emphasized the postmodern aesthetic of blending and the film-like jump cut of different visions. However, this aesthetic existed long before digital, the net, and even the post-structuralist movement, as is found in the photographic art of Jerry N. Uelsmann."
| |
|
Instructional Design Competency Testing, 2004.
This paper is a literature review of the instructional design process and the training received by students preparing to be instructional designers.
20,865 words (approx. 83.5 pages), 118 sources, APA, $ 249.95
»
Click here to show/hide summary
Abstract
This paper explains that the process of applying the instructional technology knowledge base to the education and training needs of the work force is referred to as instructional design. The author points out that as instructional technology, and more specifically, instructional design, has evolved, there have been efforts to more effectively meet the needs of business through the training of instructional designers who provide the instructional products business and industry what it needs to train the workforce. The paper concludes that there is a skills mismatch between school and business, representing a cultural shift, which is the result of a significant paradigmatic transference within the educational organizations that has not occurred correspondingly in the business culture; therefore, it is important to create instructional design artifacts that adequately meet the needs of the student and of the businesses in which the students will build careers.
Table of Contents
Instructional Design Competencies
Introduction
Evidence for Skills Mismatch
Reviewing Current Educational Preparation through Instructional Design
Case Study of Attempts to Institute Competency Measurement and Curriculum Change
Identifying Common Goals
General and Specific ID Strategies
The Foundation for Competency Measurement and Human Resource Practices
Bridging the Skill Mismatch with Competency Testing and Instructional Design
The History of Instructional Design and Instructional Technology Development
An Important Missing Link
Conclusion
Qualitative and Quantitative Research Methodology
The Evolution of our Understanding of Human Nature and the Beginning of Human Behavioral Studies
Maslow?s Hierarchy of Needs ? a Shift in Understanding
Triangulation as a Resolution for the Dichotomy
Educational Culture and Business Expectations
Are They Speaking The Same Language?
From the Paper
"Information can be processed either consciously or automatically, and conscious processing requires more working memory resources than does automatic processing. (Kalyuga , Chandler , and Sweller 1998) Schemas which are stored in long-term memory, with varying degrees of automaticity, form the basis of the conscious thought process. A schema, thought, paradigm, or concept can be stored and retrieved from long-term memory either in fully automated form or in a form that requires conscious consideration of each of the elements and their relations. If a schema can be brought into working memory in automated form, it will make limited demands on working memory resources, and thereby leave more resources available to the person. If a fully automated schema incorporating the problem solution is available in long-term memory for transfer to working memory, solution will proceed easily and smoothly."
| |
|
Georgio Armani, 2004.
This paper discusses the fashion designer, Georgio Armani.
1,115 words (approx. 4.5 pages), 3 sources, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper explains that Armani differentiated himself through his unique application of men?s fabrics in relaxed designs for women that were earmarked by unstructured jackets and suits. The author points out that his signature style, ?understated elegance?, is easy fit, ready to wear garments, that have an air of tailored and sharply cut lines. The paper states that the classic consumer for Armani products is the affluent, or aspiring-affluent, brand-conscious, fashion-conscious customer who, generally, is youthful, active, high-performing and high-profile.
From the Paper
"His designs are notable for their linear style. In the 2001 show, the prevailing theme was a ?techno-ethnic? blend, where techno fabrics were intermingled with ethnic shapes. ?Fake double? finishes and padded lightweight materials with no collars or buttons personify his unique technique. The contrast that is achieved with the combination of opposite materials, i.e., light and dark, rough and smooth, glossy and matte provide the backdrop for his outstanding fashions."
| |
|
Jackson Pollock, 2004.
This paper studies the life of artist Jackson Pollock and how he contributed to the world of art during the 1940s to the 1960s.
1,754 words (approx. 7.0 pages), 4 sources, MLA, $ 56.95
»
Click here to show/hide summary
Abstract
Jackson Pollock was a revolutionary artist of his times. His vision of painting brought a revolution in the world of art. This paper delves into the life of the great artist and throws light on his achievements as perceived through the society. It tells how Pollock's work is highly distinctive from other artists of his times due to the technique described as ?action painting?. His critics describe his works of art as the distribution of color and shapes that create undifferentiated symmetry, making his paintings sadistic, with emphasis on strong emotional disorientation that was present in his turbulent lifestyle. It explains how, though his work was chaotic compared to others of the same genre, the paintings were masterpieces of precision.
From the Paper
"Pollock?s work in the 1930s, reflected Benton's "American Scene" aesthetic, with a deep mystical touch to the work of the Albert Pinkham Ryder, whose work was greatly admired by Pollock. Other artists that influenced his work tremendously were Picasso, Mir?, and the Surrealists, as well as another Mexican muralist, David Alfaro Siqueiros. During a workshop, Pollock experimented for the first time with the use of enamel paint and was motivated to try unusual techniques such as pouring and flinging the liquid material to achieve spontaneous effects."
| |
|
Democracy in the Classroom, 2004.
Presents arguments in favor of a democratically structured classroom and offers suggestions on how best to do so, with a focus on the teaching of arts.
5,120 words (approx. 20.5 pages), 8 sources, APA, $ 128.95
»
Click here to show/hide summary
Abstract
This paper argues that a democratically structured classroom in which students are both instructed and empowered is indeed a powerful tool for creating the citizens of tomorrow. But a classroom in which children are put into standardized boxes, as is becoming increasingly the case, is one in which the principles of democracy are not only ignored, but squandered. This research examines two particularly powerful tools for inculcating in children the critical thinking skills necessary for becoming engaged and effective citizens of a democracy, teaching based on multiple intelligence and the integration of the performing and visual arts into the curriculum.
From the Paper
"Children enjoy participating in the arts, and when adults see children having such a good time it is often hard for them to imagine that the children may also be at the same time mastering complex cognitive skills, but this is an artifact of the ways in which adults conceive of learning. For adults, learning is often associated with work and so it opposed to enjoyable and pleasurable activities. But for children, learning itself is a pleasure and meshes perfectly with (and reinforces) other forms of learning."
| |
|
High Renaissance, 2004.
An insight into the High Renaissance era of art history.
1,168 words (approx. 4.7 pages), 10 sources, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
This paper discusses the Renaissance movement, which took place in Europe from the early 14th to late 16th century, and witnessed a revival of interest in the values and artistic styles of classical antiquity, especially in Italy. In particular, it looks at how the culmination of the artistic revolution of the Early Renaissance led to what is now known as the High Renaissance to signify the period of explosion of creative genius, producing as it did the work of great artists, such as Leonardo da Vinci, Raphael, and Michelangelo. It examines how High Renaissance Art touched unparalleled heights of creative expression because it brought the artist?s personal expression into well-established techniques and style, thereby increasing the dramatic force and physical presence of a work of art . It also shows how an essential characteristic of High Renaissance Art is seen as its unified balance between technical skill and the artist?s intuition or personal expression.
From the Paper
"Leonardo da Vinci?s The Madonna of the Rocks exists in two, nearly identical versions; one, entirely credited to Leonardo, in the Louvre, Paris and the second, considered a collaboration because of its distinctly sixteenth century characteristics of larger figures, in London?s National Gallery. Both versions depict a supposed meeting of the Christ Child and the infant saint John. The painting shows the infant Baptist, sheltering under Mary?s cloak, venerating the Christ Child in a cool, watery wilderness. The figures, grouped in a pyramid, are glimpsed in a dimly lit grotto setting of rocks and water, a setting that inspired the work?s name."
| |
|
"American Gothic", 2004.
A review of the painting, "American Gothic", by Grant Wood.
1,619 words (approx. 6.5 pages), 12 sources, MLA, $ 52.95
»
Click here to show/hide summary
Abstract
This paper presents a critique and commentary of the painting, "American Gothic", by Grant Wood. Created in 1930, "American Gothic" captured the public imagination and shifted the attention of American painting from the cosmopolitan to the rural. The writer includes a number of journalistic and artistic impressions of the painting and shows what a great impact this painting had on America and the art world.
From the Paper
"Wood himself, in a letter to Mrs. Sudduth, described his vision of American Gothic as small town, self-righteous folks, with a significant relationship to the false Gothic house and its ecclesiastical window: ?Incidentally, I did not intend this painting as a satire. I endeavored to paint these people as they existed for me in the life I knew. It seems to me that they are basically solid and good people. But I don?t feel that one gets at this fact better by denying their faults and fanaticism."
| |
|
Criticism of Two Art Pieces, 2004.
An analysis and comparison of "The Lamentation of Christ" by Peter Paul Rubens and "Madonna of Humility with Angels" by Agnolo Gaddi.
1,436 words (approx. 5.7 pages), 4 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper describes analyzes, interprets, criticizes, and gives a value judgment of the works of art. It explains how both works are religious in nature, and yet, both are quite different in their style and scope. It discusses how they reflect the society of the time and how society viewed religion and art.
From the Paper
"The painting is dark, partly because it depicts a very dark time, and yet, it is filled with color and movement. Physically, the work itself is small, smaller than it might seem possible to depict such a moving scene, but the size and the medium work. The colors are vibrant and alive, even though the subject ? Christ ? has just died on the cross. There are storm clouds in the background, and these are important, because they mirror the storm and torment going on around Christ, and the emotions of the people who loved him. Many of the mourners are depicted in muted colors and in the shadows, but the Virgin Mary and Mary Magdalene are both quite recognizable. One of the most vivid colors in the painting is the blood of Christ, on his body, and on the hands of one of the mourners. This draws the viewer's attention to his pain and suffering, as well as the suffering of those around him. The painting is small, but it is very emotional, and very powerful for such a small piece, and it made me quite sad to view it."
| |
|
A Marketing Plan for ?Wollongong Pub?, 2004.
This paper creates a unique marketing plan for ?Wollongong Pub?, which has a "Drama and the Arts" theme, and discusses the marketing theory behind each element of this strategic plan.
1,980 words (approx. 7.9 pages), 10 sources, MLA, $ 62.95
»
Click here to show/hide summary
Abstract
The paper explains that this pub is not like a comedy club because it is also a coffee house. The author believes that this marketing position is appropriate because the personalities of artists tend to be more gregarious, and arts and drama majors enjoy sitting in on a discussion of their performances, thoughts, and ideas. The paper relates that one of the strongest arguments for approaching the market through a brand strategy is that the result benefits both the company and its customers by reducing the number of decisions consumers they feel they need to make.
Table of Contents
Executive Summary
History of the Arts in terms of an Evaluation of the Marketing Strategy.
The Plan
Weekly Events
Monthly Events
Branding and Identity
Support Services
From the Paper
"The arts have long been a part of cultural expression in Australia. Despite its geographical remoteness, Australia is anything but a late- bloomer in the theater arts and has been a vital and enterprising center for dancing since 1835. In that year, the ballet ?The Fair Maid of Perth? was mounted with local dancers at Sydney's Theatre Royal. After World War II, state education departments began to set up and fund arts councils focusing on decentralizing the arts to country centers and schools. The Elizabethan Theatre Trust was set up to commemorate Queen Elizabeth?s first visit to Australia, and state symphony orchestras were established. Professor Throsby, an arts economist at Macquarie University, said the first half of the 1970s was often seen as a cultural renaissance when the creative arts blossomed, thanks to enlightened public patronage."
| |
|
Pablo Picasso, 2004.
A look at this famous artist's personal life history and his influence on art.
1,571 words (approx. 6.3 pages), 7 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
Pablo Picasso has been, without question, the single most influential artist of the early 20th century, both as a public figure and an artist. He has been credited, along with Braque, for the creation of Cubism, and his work in every other genre set the bar for his contemporaries. This paper shows that Picasso's styles, over the course of his eighty-year-long career, ranged from Neo-classicism to Cubism to Neo-expressionism. His work even influenced the great abstract painters. His work was always genius and usually controversial. The paper shows that, while his work has been accepted by the mainstream, his life remains controversial to this day.
From the Paper
"External strife was also a muse for many of his greatest political works. During his Blue era, he painted the outcasts of society. When his beloved France was plunged into war, he painted one of his greatest masterpieces, the Guernica. This giant mural commemorated the slaughter of his people and condemned the rising fascist movement. He remained artistically active when Paris was over-run by the Nazis as well. While he was regularly questioned by them, and his art decried by the Nazi Party as degenerate, he was strangely never arrested or detained."
| |
|
French and Italian Rococo, 2004.
Examines the origins of the Rococo style in both France and Italy.
1,032 words (approx. 4.1 pages), 5 sources, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper considers the origins of the 18th century Rococo style of art. It also considers the similarities and the differences in French and Italian Rococo styles, the changes that occurred as the style spread to Germany and Austria, and the end of the Rococo form of artwork.
From the Paper
"As is true of so much of artistic enterprise, Rococo art began as a reaction to what had come before it, and so it is impossible either to appreciate or to understand Rococo art without understanding at least in some measure the Baroque aesthetics that Rococo artists set themselves up against. While the Baroque covers a range of different sub-styles and competing schools, Baroque art (especially painting and sculpture) as well as architecture was distinguished by a general sense of vitality and an emphasis on creating the illusion of movement."
|
|
|
