| Papers [559-576] of 1926 :: [Page 32 of 107] | | Go to page : <— 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 —> | |
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Diane Arbus, 2002.
This paper discusses photographer Diane Arbus?s work, "Untitled", which gives the viewer various takes on the mentally retarded in what have been referred to as "shocking" ways.
1,120 words (approx. 4.5 pages), 7 sources, MLA, $ 38.95
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Abstract
This paper discusses that, despite much criticism, there are those who will support the idea that Diane Arbus is an artist in the truest sense. The author believes that her photographs have a way of bringing out the true nature of the people she is working to photograph. The paper concludes that Diane Arbus?s work is not invasive, but rather challenges the viewer to see the reality of the harsher things in life.
From the Paper
"Diane Arbus says the following of her work: ?Freaks were a thing I photographed a lot?Freaks are born with their trauma. They?ve already passed it. They?re aristocrats? (Bosworth, 1985, preface). This statement seems to reflect the idea not that Diane is abusing her subjects, but rather that she admires them for having withstood a life of traumatic experience. Diane has been quoted as saying that most people live in fear of something freakish or unexpected happening to them (Arbus, 1977)."
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Statue of Ptah-Khenui, 2002.
An analysis of the statue of Ptah-khenui and his wife from the Old Kingdom, Fifth Dynasty.
1,188 words (approx. 4.8 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper briefly describes the statue and what it is made off. It looks at the significance of this sculpture and what it reflects of the society at that time.
From the Paper
"The statue of Ptah?khenui and his wife is from the Old Kingdom, Fifth Dynasty, 2488?2400 BCE, and is found today in the Museum of Fine Arts in Boston. The statue is made of painted limestone and stands 70.1 cm high (almost three feet). The work was discovered in 1936 in Giza, Egypt. This work of art is interesting first because it is so well-preserved and second because it suggests something about both the art of the time and different social attitudes as expressed through art. The work is often compared to the statue of Menkaure and His Queen in the same museum, and the two statues do seem similar in that the pose is much the same. the fact that the pose is associated with royalty makes it appropriate for Menkaure and His Queen, and the fact that the same pose is used for Ptah-khenui and his wife suggests that commoners deliberately imitated the royal class, though other elements in the work show that these figures are not royalty at all."
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Exporting Buddhism's Moral Authority, 2002.
A look at the influence of Buddhist ideals in art.
1,830 words (approx. 7.3 pages), 3 sources, MLA, $ 58.95
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Abstract
This paper discusses how by exporting the ideas attributed to the Buddha, those who commissioned artworks at the time were attempting to impose their own moral authority on a specific social reality, as well as reinforcing it at home. It shows how a survey of just these few religious artworks indicates that the export of Buddhism first throughout India and then to the rest of Asia did, indeed, carries with it a very strong message of the moral authority of the time.
From the Paper
"An even later carving, this one from Borobudur, tells the tale of King Sibi in the lower panel, and makes reference to a Bodhisattva in the upper panel. A Bodhisattva is a mortal who seeks Buddhahood by practicing perfect virtue. Despite practicing perfection, Bodhisattvas choose not to enter into Nirvana, paradise, until all living things are also ready to enter. In this case, the Bodhisattva is attended by reverent humans, apparently protective of him. He rides in a horse-drawn chariot, putting him literally and figuratively above the other humans. Still, one of the figures holds a sunshade above the old man?s head. The panel is very likely meant to reinforce the idea that Bodhisattvas are worthy of respect, as they are leaders on the way to Nirvana and selfless holy people for waiting for the rest of humanity, and for the animal kingdom as well."
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Impressionism and Modernism, 2002.
Discusses the origins of two major art forms: Impressionism and Modernism. Some of the artists associated with these forms of art are also discussed.
2,321 words (approx. 9.3 pages), 6 sources, MLA, $ 71.95
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Abstract
This paper looks at the history and origins of Impressionism and Modernism. It looks at some of the by-products of these art forms, and the techniques employed by well-known Impressionists and Modernists. The paper also describes and analyzes the paintings of some of the most famous impressionist and modernist artists.
From the Paper
"Although the term "Impressionism" was first used in 1874 by a journalist ridiculing a landscape by Monet, the bitter controversy that raged for twenty years over the merits of Impressionism actually began eleven years earlier, in 1863, at the Salon des Refuses, an exhibition held to accommodate the exceptionally numerous works rejected by the jury for the salon that year. It was here that Manet shocked the viewing public with his Dejeuner sur l'Herbe ("Luncheon on the Grass"), which portrays a nude woman and two clothed men seated in the woods. Thus, Manet's refusal to idealize the figures or make the event seem less contemporary offended many critics and art dealers, for with this painting, Manet had drawn away the curtain of classical illusion and brought the nude up-to-date."
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Claude Monet, 2002.
Explores the life and works of Impressionist painter, Claude Monet.
2,126 words (approx. 8.5 pages), 6 sources, MLA, $ 66.95
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Abstract
Claude Monet is widely recognized as one of the towering figures in the art world. His paintings of haystacks and the gardens at Giverny continue to attract visitors to museums all over the world. Both the subjects of his paintings and his techniques are dominant representations of the Impressionist movement. The first part of the paper looks at Monet's biography, including his early training and influences. The next part then examines Monet's role in the development of the Impressionist movement, the break from classical painting and the beginnings of modernist art. In the last section, the paper looks at how Monet's contributions to Impressionism continues to influence artists decades after his death.
From the Paper
"Despite this early success, the Salon later rejected many of Monet's later pieces. This included the massive Women in the Garden, which Monet submitted in 1866. After this rejection, Monet began to work on smaller paintings, as seen in the series of outdoor landscapes he painted with Renoir in 1869. The subject of these paintings was La Grenouillere, a fashionable bathing area along Paris' Seine River (Tucker 64). These paintings showed the beginnings of Monet's impressionist style, where daubs of fresh color were used to capture the spontaneity of the scene and the flowing water."
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Art Critique, 2002.
Critiques and compares the paintings, ""Third Class Carriage" by Honore Daumier and Edward Hopper's "Nighthawks".
2,234 words (approx. 8.9 pages), 0 sources, $ 69.95
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Abstract
This paper, divided into three parts, presents a formal analysis of two paintings and then compares them to one another. The first painting discussed is Honore Daumier's "Third Class Carriage" (1862) which depicts a train carriage full of peasants. The second part examines Edward Hopper's "Nighthawks" of 1942, which is set in a largely deserted city district, where three individuals sit around a rounded, open table in the middle of a diner. The third part of the paper compares the two works. The paper shows that both works, despite their common subject matters and techniques, must be viewed as parts of different traditions. Daumier?s work stems from the European reaction to Romanticism, while Hopper's work stems from the American evolution and adaptation of European techniques to create a new, more eviscerating social critique of the life of the common man in America.
From the Paper
"Both pieces depict observed images of the lives of ordinary people, conducting ordinary acts of life such as traveling or eating. Both pieces depict individuals in public rather than private spaces. Both pieces depict individuals in transition, in one case on a train in transit, in the other case, waiting to leave a coffee shop with someone, or for a meeting elsewhere, or (in the case of the waiter) just waiting for the night to pass him by. Both works demonstrate how by simply portraying ordinary aspects of life, those acts accrue a significance in the mind of the viewer."
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Documentary Photography, 2002.
An in-depth look at how American history was portrayed through the lenses of photographers such as Jacob Riis, Dorothea Lange and Walker Evans.
4,166 words (approx. 16.7 pages), 18 sources, MLA, $ 111.95
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Abstract
When the camera was invented, photographers learned that they no longer needed oil paint and brushes to capture a scene or a person. On film, they could now record the life and times of the period in which they lived, either from a sense of mission or simply to leave an accurate version of their life and times for others. This paper provides an in-depth look at the lives, times and works of several photographers who captured America's history on photographic film. The paper discusses Matthew Brady who documented the realities of the American Civil War, Jacob Riis who condemned the deplorable conditions in New York City at the end of the 19th Century and the unobtrusive Dorothea Lange who photographed the plight of the American people during the Great Depression and went on to become the first woman awarded a Guggenheim fellowship. The paper also discusses the works of Walker Evans who was hired by the Resettlement Administration to photograph the Depression and Lewis Hine who educated the American public on the plight of children working under deplorable conditions.
From the Paper
"The most poignant and moving photographs from Lange's trip convey a mood rather than describing circumstances or activities: a man squatting at the edge of the field, a mother and child in the tent opening, a group of men staring at the photographers. The photographs are character studies showing the textures of skin and clothing with an artist?s eye and depicting posture, gesture and gaze with an ethnologist's.
When the Depression came to an end with World War II, Lange changed subjects rather than give up her documentary photography. Three months after Pearl Harbor, President Franklin Roosevelt ordered the relocation of Japanese-Americans into armed camps in the West. Soon after, the War Relocation Authority hired Lange to photograph Japanese neighborhoods, processing centers and camp facilities.
However, now Lange?s feelings about what the government was doing gave her much discontent. She was not prepared to witness the disturbing racial and civil rights issues raised by Japanese internment. Lange quickly found herself at odds with her employer, the United States government."
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Walker Evans, 2002.
A review of the life and photographic accomplishments of Walker Evans.
4,620 words (approx. 18.5 pages), 9 sources, MLA, $ 119.95
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Abstract
This paper presents a review of the life and work of Walker Evans. The paper makes reference to the documentaries and still photography which can be found in museums. After providing a brief introduction about the photographer?s style of work during the 1930s, the paper provides a comprehensive and in-depth history of the life of Evans, including his family and education. Following the brief history, the paper highlights Walker Evans as an individual, while the latter part of the paper discusses the various stages of his career along with his important and significant works, awards and achievements during that era.
From the Paper
"He sailed to Paris to complete his abroad thirteen months education in international modernism; and also gathered most of the tools he would require to become an artist. After returning to New York in May of 1927, he bought with him French books, which were his literary aspirations and his handful of little photographs. He also went to Europe to study French literature. At that time no American abroad may feel properly accoutered without a camera. But this elegant young with his pocket camera took a few photos, on a lark. One was a picture of a grim-lipped soldier in the classical Palazzo Royale, Naples while, another shot was of a man who is wittily juxtaposed with a fanciful four-lantern street lamp that upstaged him slightly."
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Andres Serrano, 2002.
A look at the controversy that surrounds the works of photographic artist Andres Serrano.
1,555 words (approx. 6.2 pages), 3 sources, MLA, $ 51.95
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Abstract
This paper looks at some of the controversial works of Andres Serrano such as "Piss Christ"; "Pneumonia Due to Drowning" and ?Grand Dragon of the Invisible Empire.? The paper discusses how, when reviewing Serrano?s works, it is important to look beyond the historical, monetary and political controversy for a moment and to evaluate his productions of art as works of art in and of themselves.
From the Paper
"The photography and other works of the artist Andres Serrano have, in many ways, become synonymous with the 1980?s and 1990?s cultural wars, specifically with the fight of the National Endowment of the Arts (NEA) to secure continued funding and to secure its continued existence from the United States Congress. The images of Serrano such as his ?Piss Christ? in which an image of Christ on a crucifix was submerged in urine was used as a kind of ?look at what the NEA hath wrought? proof of the organization?s funding. Of course, even the greatest work of art can be rendered in a verbally reductive sense, as in ?Leonardo?s ?Mona Lisa? is just a picture of a woman with a funny smile, what?s the big deal?? It is important, when reviewing Serrano?s works, to look beyond the historical monetary and political controversy for a moment, and to evaluate his productions of art as works of art in and of themselves."
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Anime, 2002.
An overview of this form of Japanese animation.
3,097 words (approx. 12.4 pages), 10 sources, MLA, $ 90.95
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Abstract
From Pokemon to Yu-Gi-Oh, anime has captured the imaginations of thousands of American children. Anime works for adults, such as "Ghost in the Shell", "Vampire Princess Miyu" and "Gundam Wing", often inspire as much dedication in adults as their counterparts do among children. This paper explores Japanese anime, including manga (comic books) which evolved out of a synthesis between traditional American comics and ancient traditions of illustration and written literature. The paper looks at how anime differs from American animation, including differences in characters, plots and style.
From the Paper
"Japanese culture is highly open regarding nudity, and public bath houses are a common sight both in the country itself and in anime. Scenes involving individuals bathing together are not necessarily meant to be sexual (though of course there are numerous exceptions), and nudity is frequently treated in a casual and open manner. However, there are limits to this openness. As in many cultures in which nudity is acceptable, there are very tight strictures regarding actual indecency. It is illegal, throughout the country, to portray genitals or detailed pubic areas. This results in many hentai in which genital areas, when glimpsed, have been either blurred out or made androgynously featureless. It has also resulted, however, in a wide variety of creative and exotic ways of working around the rules. Hentai frequently uses excessive bodily fluids in the portrayal of graphic sex in order to hide the actual genitals. Creative ?camera angles? can portray the most intimate encounters while subtly skipping around the genitalia. Additionally, much of the fascination with creature hentai comes from the fact that non-human genitals have no restrictions placed on their suitability for public consumption."
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Arts-Based Learning, 2002.
A brief literature review of teaching children through art and music.
713 words (approx. 2.9 pages), 10 sources, APA, $ 25.95
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Abstract
Children are natural artists, often using arts as a means to express themselves through color, form, sound and movement. Arts based learning is a vehicle in which students can learn subjects such as language, history and mathematics through poetry and song, narratives and drawings, dance and drama. The paper shows that arts-based learning supports a stronger model for engaging individual learning styles and preferences and tapping into children?s ?multiple intelligences.? Arts based learning also has the ability to increase student self-esteem by encouraging many different forms of self-expression of knowledge. The paper reviews literature on the subject.
From the Paper
"Elliot Eisner supports the concept of arts based learning and suggests that by teaching reading and writing through the use of alternative mediums in the arts, such as stories, paintings and song, learners become more actively engaged from an experiential standpoint (Eisner, 1994). ?To neglect the contribution of the arts in education, either through inadequate time, resources, or poorly trained teachers is to deny children access to one of the most stunning aspects of their culture and one of the most potent means for developing their minds? (Eisner, 1987, Music Educators Journal). Eisner believes that arts based education provides an outlet for students to express their knowledge and creativity by engaging all of the senses, thus allowing student?s to tap into their intrinsic learning styles."
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Greek Culture, 2002.
An examination of ancient Greek culture through a literature and art review.
1,141 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
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Abstract
This paper attempts to provide a clear picture of the humanistic world of the ancient Greeks. It looks at how the humanistic attitudes of the ancient Greeks, where the individual was of prime importance, contrasts sharply with many other ancient cultures and civilizations. It examines how classic Greek art and literature, illustrated by examples such as as the "Nike of Samothrace" and Homer's "Odyssey", illuminate not only the ancient Greeks themselves but also our modern age. It shows how it was from the Greeks that art and culture truly emerged, with its respect for beauty and simplicity, the physical concepts of nature and the humanistic view of man.
From the Paper
"A later work of Hellenistic sculpture is the Laocoon group, which shows the Trojan priest Laocoon and his sons being strangled by sea serpents, due to Laocoon's defiance of the Greek god Apollo (others say he offended Poseidon by warning the Trojans about the Trojan horse). The spectacular torment of Laocoon and his sons is presented with all the devices of realism--the torturous poses, straining muscles and swelling veins. This piece, according to Pliny, the Roman scholar, was fashioned by Athanadoros, Agesander and Polydoros, three sculptors from the Greek island of Rhodes, famous for the Colossus of Rhodes, one of the seven wonders of the ancient world."
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Public Art, 2002.
Shows how the definition of public art has evolved since the dawn of humankind.
2,184 words (approx. 8.7 pages), 3 sources, MLA, $ 68.95
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Abstract
As long as there has been art there has been public art. But this does not mean that public art has always meant the same thing to the people who made it or the community that it was made for. This paper examines four moments in history and four specific artworks as a way of examining how the function of art in public places has changed, as well as the ways in which it has not changed, over the centuries. This paper begins at a moment long before many people would place the beginnings of public art ? with the Paleolithic drawings on the walls in French caves and ends with the works of Maya Lin. As each moment in time presents a different form of public art, no single, overriding definition of the term is offered here. Rather, each moment in history and each example of art requires its own definition of public art.
From the Paper
"Some nineteenth-century scholars argued that the cave paintings should be seen as attempts to influence reality, that the images painted on cave walls (and this would perhaps have been especially true of the portrayals of animals) had a totemistic value. In other words, people painted animals to help hunters have better luck in the hunt, either in terms of capturing prey or in terms of surviving the hunt without injury. In a similar vein, other important types of Paleolithic that seem to celebrate female fertility, such as the Venus of Wallendorf, might have been used as totems that would help to ensure the continuing existence of the tribe itself."
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Renaissance Sculpture, 2002.
Compares the "Davids" by Donatello and Michelangelo to show how both pieces epitomize their periods and styles.
1,722 words (approx. 6.9 pages), 4 sources, MLA, $ 55.95
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Abstract
The division of Renaissance art into three distinct periods began with Giorgio Vasari, the great Florentine art historian and chronicler of the lives of the artists. Vasari concluded, based on his universally accepted perception of Michelangelo as ?Il Divino,? that Renaissance art reached its most sublime expression in the works of Michelangelo and Leonardo da Vinci. However, some modern art historians wonder how valid or valuable this categorization and consequential value judgment is. Roberta J. M. Olson challenges the very existence of a ?High Renaissance,? on the grounds that ?the term is artificial, a qualitative judgment of ?High? signifying the best,? The paper shows that there are surely noticeable differences in the vivid expressions of Italian Renaissance art from the fifteenth to the sixteenth centuries. Art from the early period of the Renaissance sprouted from the preceding medieval and Gothic artistic traditions, with their emphasis on dramatic facial expressions and compositions. This is especially evident in the sculptural arts, those three-dimensional figures that rendered the human form with increasing idealism. The paper shows that this trend toward idealistic renditions of the human face and figure directly derived from a revived interest in the Classical arts of ancient Greece and Rome. In fact, Renaissance art in general is defined by its classical motifs, materials, and mannerisms. Donatello signified this coming together of two artistic and philosophical traditions in the early periods of the Renaissance in Florence. A century later, Michelangelo Buonarotti built upon Donatello?s earlier contributions to Italian art and sculpture in particular. The paper explains that although the works of Michelangelo defy categorization, his is generally considered to be ?instrumental in creating the High Renaissance,? and is heralded as that period?s hallmark of all the works available for research by art historians, the two that most epitomize their periods and styles and which are most easily comparable because of their similar subject matter are Donatello?s and Michelangelo?s statues of David. This paper therefore examines and discusses these two pieces and show how they characterize the time periods they represent.
From the Paper
"Moreover, Donatello?s David signifies the budding Renaissance style because it incorporates distinctive classical elements. These elements would later mature in the corresponding David by Michelangelo. Nevertheless, while Donatello preserved Biblical accuracy in his rendition of David slaying Goliath, he also paid tribute to the sculpture of ancient Greece and Rome. His David, in fact, is almost Mercurial with its pagan-influenced hat and its adorning wreath. Here, Christianity and paganism coexist in one statue. Michelangelo?s later version had none of this; in fact, Michelangelo did away with the image of Goliath altogether to focus solely on the stature of the hero?as if he perceived David as more of an ancient athlete than a Christian warrior. Similarly, Michelangelo underemphasized the actual struggle between David and Goliath: instead of a sword placed valiantly in the foreground as it is in Donatello?s, Michelangelo?s David sports a barely noticeable sling."
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Martha Rosler, 2002.
A discussion of the photographic work of Martha Rosler.
1,540 words (approx. 6.2 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper looks at how United States artist Martha Rosler has worked to provide a cataloged version of the spaces and moods of 20th century hearts and minds. It discusses how she worked through her travels with a camera and shot things that she believed were representative of heart of America and how the pictures tell stories that branch off into ideas of their own with the light and the images that are portrayed in them.
From the Paper
"The examination of her photographic work pertaining to the illustration of the 20th century must include a look at several pieces which use light and shadow to make their point. In addition it is important to discuss her use of accepted art forms, such as nudity. While nudity has always been an accepted art form in the world of painting and sculpture it is only in the 20th century that its use in photographs has come to be considered artistic expression as well. Many of the photos Rosler took in her years with a camera provide the patron with a story of modern times through the techniques used as much as the object or subject itself."
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Vincent Van Gogh, 2002.
A biography of the life and career of the painter Vincent Van Gogh.
2,810 words (approx. 11.2 pages), 5 sources, MLA, $ 83.95
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Abstract
This paper examines how through a ten year period the work of Van Gogh ranged in style and meaning and how many of the changes he experienced were founded in the fact that he spent time with other artists. It provides a outline of his life and analyzes some of the life experiences and influences that affected his work. It discusses the different types of his work which ranged from self portraits and portraits to irises and vineyards.
From the Paper
"Vincent Van Gogh has frequently been referred to as the greatest Dutch painter since the time and work of Rembrandt. One of the most remembered accomplishments of Van Gogh in the world of art is his powerful and long lasting contribution to the changes in the genre of Expressionism. He influenced that genre not only with his works and statements within those works but also with the changes that his work underwent as the genre adapted to those changes. He is single-handedly noted for affecting the genre and influencing changes.
One of the most unusual facts about Van Gogh is the span of his works. Most artists that sustain historic recognition spend their entire life producing the works that become classics. Van Gogh produced all of the works the world admires in a short ten year span of life."
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Prehistoric Cave Art, 2002.
An insight into prehistoric cave art.
1,154 words (approx. 4.6 pages), 9 sources, MLA, $ 39.95
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Abstract
This paper examines how prehistoric cave art is considered to be man?s original form of art, although its date of origin is still unknown. It looks at how, with examples, the art displays the effects of the cultures and surroundings that created them. It discusses how the cave art found in Europe and Africa depicts the prehistoric conception of animals, humans, symbols and weapons and how there are many differences and commonalities between the art found in both areas.
From the Paper
"The cave paintings in Linton are considered to be only 11,000 years old, as opposed to Apollo 11. The cave shelter located in Linton on the Eastern Cape of Africa contains a painting of that illustrates the experiences of healers or shaman, calling on supernatural powers. Human figures are clearly defined. The shaman has hooves, as if taking on the shape of an animal in order to connect to the spiritual world. White dots are used to represent spiritual power. Strange features are also assigned to other animals and humans present during the trance in the painting, using white dashes. Animals in the painting appear to have mismatched body parts, such as a snake with an antelope head."
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Sculptures, 2002.
An art appreciation paper about two sculptures - Brancusi?s "Golden Bird" and the 8th century statue of a "Bodhisattva".
2,158 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
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Abstract
This paper discusses the two works of art - both of which are on display at the Chicago Institute of Art - as examples of sculpture although their creation is separated by 13 centuries. It looks at their differences and their similarities. The paper includes a picture of each sculpture as well as essential facts.
From the Paper
"Indeed, it is the differences in these two works that are more glaring than their similarities. The bodhisattva is a religious icon. It has extremely practical uses in Buddhist worship. It also acted as a sort of moral compass for its viewers; bodhisattvas were beings who had almost achieved enlightenment and could have attained nirvana, but their feelings of charity have caused them to stay in the world and attempt to help others achieve Nirvana. As a result, the bodhisattva provides an image of what a charitable being looks like. In this sense, the bodhisattva, although a beautiful work, has a moral and religious dimension that is as primary as its aesthetic appeal. Also, the statue was created according to strict rules of tradition, with little room for individual innovation. Brancusi?s statue on the other hand is a nonrepresentational form created according to no traditional template. Brancusi claimed that his material was the major guiding force in his work. He believed that the forms presented themselves from out of the material itself. Thus, although the two artifacts are both examples of sculpture, the bodhisattva is a devotional piece that has major religious and ethical implications, whereas Brancusi?s Golden Bird is a self-sufficient meditation on form that attempts to reveal its own essential nature by the free play of its forms."
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