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Portraiture in Goya and Moroni, 2008.
A comparative analysis of Giovanni Battista Moroni's "Gian Lodovico Madruzzo" and Francisco de Goya's "Portrait of General Jose Manuel Romero".
1,322 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses how Giovanni Battista Moroni's "Gian Lodovico Madruzzo" and Francisco de Goya's "Portrait of General Jose Manuel Romero" exhibit a number of similarities and differences. It looks at how both paintings depict a similar type of subject in the same medium of oil on canvas as well as how, despite these similarities, the paintings are quite different in terms of style and the ways that the subject is shown. More specifically, the paper relates that Moroni attempts to show the personal side of his subject while still maintaining respectability. but Goya emphasizes the military and social role of his subject by minimizing his subject's surroundings and maximizing the subject's image within the framed portrait.
From the Paper
"The posing of each figure is also important and is closely related to their placement. The long robes of Moroni's subject are most effective in a standing subject. Here, he poses without implied action of any sort, allowing the long lines of the robe fabric drape naturally around his person. His hands are visible, with his left hand pointing slightly to extend the lines of his arm, again lengthening him within the canvas. Much of the positioning of the subject is done to improve his image within the painting. Much more simply, Goya's subject stands in a formal military pose with his right hand tucked into his sash. This very clear and simple pose does well to again emphasize Goya's ambivalence toward his subject as he attempts to paint him as he truly appears. "
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Symmetry in Islamic Art, 2008.
This paper explains how geometric concepts can be taught based on the symmetry found in Islamic art.
2,537 words (approx. 10.1 pages), 13 sources, MLA, $ 76.95
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Abstract
The paper looks at the extensive use of geometric and symmetrical patterns in Islamic art. The paper provides a definition of geometry and looks at translations, rotations and reflections in Islamic art. The paper then examines the mathematics of symmetry and how symmetry, as manifested in Islamic art, can be utilized to teach geometry in the contemporary classroom.
Outline:
Introduction
Symmetry in Islamic art, Part I
Symmetry in Islamic Art, Part II
Symmetry in Islamic Art, Part III
From the Paper
"Many civilizations have long used artistic designs for a variety of purposes. For instance, some civilizations have used artistic designs for emblematic purposes, while some have used artistic designs for ornamental and/or architectural purposes; still others, perhaps unsurprisingly, have used artistic designs for spiritual symbolism. Another thing that is not at all a surprise is that artistic designs almost invariably utilize mathematical concepts. Specifically, within the Islamic art tradition, there has long been the extensive use of geometric and symmetrical patterns - so much so that it may be put forward that one of the defining features of Islamic art is its ability to incorporate mathematical concepts and ideas in ways that are rich, vibrant and aesthetically pleasing."
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"The Entry of the Animals into Noah's Ark", 2008.
A review of Jan Brueghel the Elder's 1613 painting "The Entry of the Animals into Noah's Ark".
890 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
This paper looks at how Jan Brueghel the Elder's 1613 painting "The Entry of the Animals into Noah's Ark" has a playful attitude toward the fable of Noah's ark and how, by simply looking at this painting, it is easy to imagine this artist as secure in his Christianity and in his talent. It discusses how the painting is not critical of nature at all and how all its lush greenery and gorgeous animals demonstrate Brueghel's love of God's creations.
From the Paper
"There is also the matter of the camels, which seems to be draped with Arabic carpets. One of them has its head turned toward the viewer, as if ask a question. In my opinion, the question is generated by the carpets, indicating that a culture (Arabic) has already been formed and is doomed to be wiped out by the flood. The humorous quality of the camel's gaze suggests that this is historically improbably, because there is no reason to believe that an identical culture would spring up after Noah's family repopulates the Earth."
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George Braques' and Analytic Cubism, 2008.
An analysis of the role and influence of George Braques in the Cubist movement.
847 words (approx. 3.4 pages), 3 sources, MLA, $ 30.95
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Abstract
This art study analyzes the premise of George Braques' role in the creation of analytic cubism within the Cubist movement of the early twentieth century. It shows how Braques brought forth a popularization of the Cubist movement alongside Pablo Picasso to generate conceptual and simultaneous perspective on cubes, which had made a great impact on the success of the overall movement.
From the Paper
"This was the major influence that Braques had in conjunction with Picasso, forming a new style of painting that had become far more conceptual than anything done before. Although certain forms of cubism did use a various geometric patterns in a one-dimensional application, Analytic Cubism was created by Braques in order extend the way that Nature often depicted objects in the human mind, rather than from externally inspired perceptions that may be seen by the eye. Braques played an integral part in learning to see objects within his mind's eye, which would translate into various still life objects found in his works. In this manner, his painting describe the way and manner in which he played a crucial role in how cubes were to be conceptualized in a simultaneous perspective."
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The Harlem Renaissance and "Negro Art", 2008.
This paper explores the concept of "Negro Art" from the Harlem Renaissance period by analyzing the philosophies of two of that movement's central leaders.
1,440 words (approx. 5.8 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper discusses the philosophies of three leading figures of the Harlem Renaissance--Langston Hughes, George Schuyler and W.E.B. DuBois. The paper describes Langston Hughes' "The Negro and the Racial Mountain" in which he attempts to prove that the desire to not be associated with a specific ethnic class is tantamount to racial self-hatred. The author then explains that George Schuyler in his "The Negro Art Hokum" argues that African-American artists are not some sort of unified bloc and that the imposition of subject matter and style is belittling and racist. Next, the author of the paper applies the conclusions of Hughes and Schuyler to two paintings by Beauford Delaney, a prominent painter of the Harlem Renaissance. The paper concludes that the fairest and most logical approach to the study of "Negro Art" lies somewhere between Langston Hughes and George Schuyler.
From the Paper
"Another of Delaney's works that highlights the necessity of forming a compromise between Hughes' and Schuyler's contrasting theories on art is his famous pastel drawing of James Baldwin, the American writer and novelist. Although the two were close friends, Delaney does not attempt to transmit, through his strokes, a sense of his love of and appreciation for Baldwin. Had he wanted to do that, he surely would have created a different portrait than the eerie, anxiety-riddled, and yellow-hued portrait that he actually made."
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Trend of Modernist Art, 2008.
This paper looks at the trend of modernist art and discusses art from realism toward abstraction.
833 words (approx. 3.3 pages), 3 sources, APA, $ 29.95
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Abstract
In this article, the writer looks at realism and notes that realism was also considered to be illusionism. The writer explains that this was because, in realism, the artist made every attempt to create the illusion that what was being seen was as though the viewer were looking through a window into a moment in life. The writer points out that illusionism required a strong focus on shadow and light, as well as the composition of the figure in relationship to the canvas. The writer discusses the concept of illusion in painting, focusing on paintings by Ingres, Cezanne and Matisse, small copies of which are included in the paper.
From the Paper
"In the painting by Ingres the painter has utilized black background in order to give the illusion that the subject is close in proximity to the viewer. The line of the drapes serves to draw the viewer's eye closer to the subject, leading into the line of the woman that is the center of focus. The artist then uses shadow and light to accentuate the figure, detailing the shape of her form. Color is also used to add to the portrait, with blues in the drapes and on the bed. This serves as an additional background for the flesh tones that are used, which are mildly distorted on the legs, as the artist attempted to give the illusion of leg length and realism in relation to the woman's position on the bed. Additionally, naturalistic tones have been used in the painting that adds to the realistic affect of the work."
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Velazquez and Cassatt, 2008.
A comparison of two portraits; Diego Rodriguez de Silva y Velazquez's "Juan de Pareja" and Mary Cassatt's "Lady at the Tea Table".
741 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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Abstract
The paper describes and analyzes two portraits from different eras and movements; Diego Rodriguez de Silva y Velazquez's "Juan de Pareja" from 1650 and Mary Cassatt's "Lady at the Tea Table" from 1885. The paper identifies how these artists have utilized the same factors of artificial symmetry and contrast and gaze of the subject in order to reach different goals.
From the Paper
"The first painting to be studied is Velazquez's Juan de Pareja. The first thing that is striking upon viewing this portrait is its two-dimensional composition. The figure, Pareja, is composed in the space asymmetrically. The man is aligned to the left side of the portrait, his head and body filling the space to the left of center. Yet, his chest/torso, cloak, and arm fill the right side of the space rather well. While Velazquez does not exhibit symmetry in his two-dimensional composition by doing this, he achieves what this writer feels is a rather nice effect. The proudly displayed chest and body of Pareja give a sense of regality and pride to the portrait."
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Bondoni and Van Eyck, 2008.
This paper describes two breakthroughs in art; Giotto de Bondoni's "Adoration of the Magi" and Hubert van Eyck's "St. Francis Receiving the Stigmata of Christ."
856 words (approx. 3.4 pages), 10 sources, MLA, $ 30.95
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Abstract
The paper looks at Giotto de Bondoni's "Adoration of the Magi" masterpiece and "St. Francis Receiving the Stigmata of Christ," attributed to Hubert van Eyck. The paper describes these two paintings of Giotto's frescoes and van Eyck's oils. The paper notes that although Van Eyck is the more advanced of the two, they are both masterpieces that reward serious study.
From the Paper
"Giotto de Bondoni was a breakthrough artist in that he turned art toward a much higher degree of realism than it had known before the early fourteenth century. However, by later standards, his frescoes seem remarkably crude. Many of his finest works are among the frescos in the Arena or Scrovegni Chapel in Padua. (Battisti, 78) The chapel was designed by Giotto to provide him with walls on which he created a range of frescoes depicting the life of Christ and various events attendant to that life. The project was apparently undertaken as a compensatory gesture to atone for the usurious career of Reginaldo delgi Scrovegni, a character sufficiently notorious that Dante portrays him in Hell."
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Mass-Produced Art, 2008.
An examination of the essay "The Work of Art in the Age of Mechanical Reproduction" by Walter Benjamin.
2,326 words (approx. 9.3 pages), 3 sources, MLA, $ 71.95
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Abstract
The paper explores Walter Benjamin's, "The Work of Art in the Age of Mechanical Reproduction" and looks at how digital cinema may be interpreted as a classic instance of technology democratizing the creative and artistic process. The paper discusses how the camera in general is a tool that can become exploited by those with political objectives in mind. Finally, the paper looks at the redemptive aspects of modern mass-produced art. The paper shows how the age of mass-produced and mass-replicated art offers much that is promising and redemptive, but also presents some genuine challenges.
From the Paper
"Benjamin begins by writing that works of art, at least in principle, have always been reproducible. To wit, man-made creations could always be replicated by man - such as students in an art studio creating copies for the honing of their craft. In the age of mechanization, however, the mechanical mass-reproduction of art meant that an item could be replicated at an astonishing speed - indeed, with a speed that previous generations would have found bewildering (Benjamin, 2). Suffice it to say, digital cinema intersects with Benjamin's observation to the extent that this commonplace piece of contemporary technology now makes it easier than ever before for someone to capture an object - be it a painting or any other form of art - and to distribute said image to whomever and wherever they wish (via electronic transmission, of course)."
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Frida Kahlo and Georgia O'Keefe, 2008.
A comparative analysis of feminist iconography in the works of Frida Kahlo and Georgia O'Keefe.
2,447 words (approx. 9.8 pages), 10 sources, MLA, $ 74.95
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Abstract
This paper compares and contrasts Frida Kahlo's exhibition: "Five Fridas" at the Bass Museum of Art and "Circling Around Abstraction" by Georgia O'Keefe. It attempts to show how a comparison of the works examined in these two exhibitions reveal a feminist iconography that uses vegetation and flowers to exude the beauty of female genitalia. It also discusses how these feminist iconographic images do not always coincide equally by the two artists, as Kahlo provides a contrasting dimension of Mexican nationalism and sensuality in her feminist approach in relation to O'Keefe.
From the Paper
"The exhibition at the Norton Museum of Art entitled "Circling Around Abstraction" by Georgia O'Keefe provides a variety of different vegetative or flowery representations through abstract stylization. One example of this is found within the work: Grey Blue & Black--Pink Circle (1929) where O'Keefe provides what appears to be a flower with its interior pistils and stamens extending into where horticulturists define the ovary at its center. This entry point of the flower was often depicted in O'Keefe's paintings, especially due to the nature of the flowers seemingly similar reproductive organs in relation to the human female (Hoffman 45). "
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Oedipus Rex, 2008.
This paper examines the painting "Oedipus Rex" (1922) by Max Ernst.
741 words (approx. 3.0 pages), 1 source, APA, $ 26.95
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Abstract
The paper analyzes Max Ernst's artwork "Oedipus Rex" through the Freudian Oedipus complex and through the play "Oedipus Rex" by Sophocles. The paper considers how the surrealistic style of Ernst is used to depict the symbolic sexual tension between father, mother and son, especially in the case of the walnut and the arrow that penetrates it. The paper explains that this type of Freudian approach to painting is part of Ernst's desire to reflect his own inner conflicts.
From the Paper
"The painting Oedipus Rex (1922) by Max Ernst was a direct result of his fascination with birds and the idea of a deeper unconscious mind working beneath the veil of surface thoughts. Ernst believed fervently in the premise of the bird as a symbol of how mankind sought to be free through flight, which acts in accordance with the Freudian concept of condensation. The link between the play by Sophocles and the painting only invigorate this idea, since the premise of the son in Freud's theory is to free himself from fatherly constraints to bond with his mother in intercourse. The nut being portrayed in the painting is clearly a female symbol of the vulva with the male fingers vying to enter it."
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Spirituality in Paintings by Wassily Kandinsky, 2008.
An analysis of Wassily Kandinsy's text, "Concerning the Spiritual in Art" and his paintings.
3,619 words (approx. 14.5 pages), 4 sources, MLA, $ 100.95
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Abstract
This paper discusses the spiritual foundation for the artistic and spiritual ideology of Wassily Kandinsky. It then provides a textual and analytical critique of his paintings and examines his written work, "Concerning the Spiritual in Art,". The paper also discusses the geometric symbolism that would inevitably become part of his own painting process.
From the Paper
"The musical foundation for spiritual painting is also revealed by Kandinsky, as he further defines the nature of a higher power through the discourse of time, color, and form. Kandinsky understands this overall or macrocosmic view of painting, which defines the need for an understanding of music to determine the nature of metaphysical properties in his compositions. In Composition VII, the idea of a triangular ascension of form is directly related the movement of the objects in the painting revolving around the central oval shape."
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Paul Signac, Pointillism and Anarchism, 2008.
This paper discusses artist Paul Signac, focusing on pointillism and anarchism.
2,030 words (approx. 8.1 pages), 15 sources, MLA, $ 64.95
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Abstract
In this article, the writer notes that in the late nineteenth century, the movement known as Neo-Impressionism was influential in French art circles. The writer points out that one of its most prominent figures was the pointillist, Georges Seurat and that in 1884, as he was developing the pointillist technique for which he is largely remembered, Seurat met Paul Signac. The writer discusses that although their personalities were different, the two collaborated, with Signac regarded as secondary: talented, but overshadowed by a genius. After adopting pointillism at the inspiration of Seurat, Signac refined his technique from the fluid style which drew inspiration from the subject matter, to a controlled and refined art. In addition, the writer notes that Signac was torn between technical craft and the political movements of his day. The writer maintains that in recent years, the art community has re-examined its assessment of Signac, finding that he deserves more than the very secondary position to which he has typically been relegated.
From the Paper
"While Signac accepted this view, Seurat did not adopt the anarchism that many Impressionists including Signac endorsed. In January 1886, Paul Alexis, a journalist and supporter of the writer Emile Zola, launched a subscription fund for the support of striking miners. Like Signac, Seurat had inherited a comfortable setting, and preferred the amenities that it provided. While he wanted more artistic freedom that the traditional ruling Salon would allow, he was not an anarchist. Seurat did not contribute to Alexis' subscription; Signac and Camille Pissarro did."
"Signac was very much aware of the complex of political currents stirring in France. After 1888, he studied the works of Elisee Reclus, Kropotkin and Jean Grave, and eventually fell into the anarchist camp at least philosophically. Despite this, he regarded himself primarily as a painter rather than a political figure, and expressed himself in paint."
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Mondrian and Abstract Art, 2008.
This paper discusses the life of Piet Mondrian and the development of abstract art.
884 words (approx. 3.5 pages), 1 source, MLA, $ 31.95
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Abstract
The paper describes the works and life of Piet Mondrian, the Dutch abstract painter. The paper traces the development of Mandarin's style from the beginning of the 20th century until the 1940s. The paper also shows how Mondrian was one of the pioneers of geometric abstract art.
From the Paper
"Abstract art can trace its origin to the later part of the 19th century when artists began to move away from simply imitating the physical world. Cubist and futurist paintings for example "represent highly abstracted interpretations of the material world" (Arnason, 217). The abstract painters began to use only color, shape and form to explore new artistic expressions. Hence modern abstract art can be called non-representational and non-objective. One of the most important movements in the development of modern abstract art was the De Stijl group in the Netherlands, which began in 1917. The group wanted to create "the art 'for clarity, for certainty, and for order" (Arnason, 231)."
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Art Activism and WWII's Korean Comfort Girls, 2008.
An analysis of how artistic activism is attempting to draw more supporters to the comfort women's cause.
2,042 words (approx. 8.2 pages), 7 sources, MLA, $ 64.95
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Abstract
This paper discusses the ways that artistic activism portrays Korean girls who were sent to serve military brothels of the Imperial Japanese Army (IJA) throughout occupied Asia, during World War II. It discusses how, together with international law, litigation and documentation, artistic activism has attempted to draw more supporters to the comfort women's cause.
Table of Contents:
Introduction
Artistic Activism
Exhibits in North America
Concluding Discussion
From the Paper
"Far work continues to be promised in the future, as more women and other artists take up the cause of the comfort women, making use of their testimony collected in several countries and what are said to be numerous surviving photographs taken shortly after the end of the War or at different times in the surviving comfort women's futures. For viewers not at all interested in imperial Japan's atrocities in Asia or the comfort women in particular, each work discussed in this paper, nonetheless, succeeds in a kind of informal reminder that what we see in the exterior or a person, or in perceptible emotions, can tell very little indeed as to a person's precise life experience. Of the third or so of comfort women to survive their existences of being military prostitutes, each had an horrendous story of devaluation, violence and injuries of all kinds."
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Artemisia Gentileschi's and Art History, 2008.
An examination of the contribution of Artemisia Gentileschi to art history, regardless of her gender.
2,764 words (approx. 11.1 pages), 8 sources, MLA, $ 82.95
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Abstract
This paper examines the intervention of the remarkable woman artist, Artemisia Gentileschi. The paper shows that it is impossible to separate her unique contribution to art, from her material conditions, including her gender. The paper argues at the same time that her intervention to art history must not be reduced to her gender, or overly sexualized, but appreciated for itself.
From the Paper
"It is suggested that this statement should stand as the conclusion to the above attempt to separate art as art in itself from the gendered, biographical and social reality of Artemisia's life. There can be no doubt that Artemisia made a substantial intervention in art history, not least of all by portraying women as active agents, not merely as objects to be watched. There can also be no doubt that it was remarkable that she managed to do this, given the fact that she was female in a society that did not provide to women the material conditions necessary for art to be produces. Moreover, judging from her oeuvre, there can be no doubt that the rape by Tassi had a profound influence on her work, and may in fact account for her status as a proto-feminist. Nevertheless, in assessing her intervention, we must always resist the temptation to reduce our assessment to nothing but a gender-based analysis. To do so would trivialize her by sexualizing her, and would not do justice to her achievements, and to her intervention in art history."
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Venetian Painting in Relation to Local Interests, 2008.
A review of the relationship between culture and the works of various Venetian artists.
925 words (approx. 3.7 pages), 7 sources, MLA, $ 32.95
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Abstract
This paper discusses Venetian painting and artists and their relationship to local interests and human nature. It looks specifically at the works of Lodovico Dolce, who is an author, Pietro Aretino, who is a poet, Paulo Pino, who is a painter and writer and Giorgio Vasari, who is a painter and architect. It describes some of their works and briefly how they were affected by the culture around them.
From the Paper
"Giorgio Vasari saw things differently, again, as is made plain in his The Lives of the Artists (1550) which appeared in a much expanded form in 1568. (Bonadello 1991, Gaunt 1963) Vasari was also a painter and architect, his paintings criticized for their quality of mannerism, in that he conformed too much to a studied composition, and he came to be most admired for his talents as a decorator, his home in Arezzo considered a masterpiece of what we today know as interior design. With regard to the topics introduced above in this paper, Vasari was a confirmed admirer of Michelangelo as placed him at the opposite pole from Dolce in his regard for Titian, though he did note Titian's ability in his second volume. (See Gaunt 199-201). Vasari became embroiled in the local artistic politics of Venice when in 1541 he visited Venice with copies of Michelangelo's paintings Leda and Venus Reclining with Cupid which he presented to the Duke of Urbino, soon writing to the duke to press him to buy both works. Naturally this incensed Lodovico Dolce who remained attached to Titian and had been working towards the duke's purchase of Titian's Venus and Adonis. The Duke of Urbino had long been one of Titian's important patrons in a city-state and region of many artists and limited patrons."
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Digital Black and White Photography, 2008.
An analysis of the history of digital photography and a comparison of its results with those of analog cameras, focusing on black and white developments.
1,353 words (approx. 5.4 pages), 7 sources, MLA, $ 45.95
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Abstract
This paper argues that digital cameras are better than analogue cameras. Specifically, the paper looks briefly at the history of digital photography, at its utility in matters such as record-keeping and crime-fighting and at some noteworthy instances of digital photography producing impressive and compelling works. Finally, the paper looks at all of the various reasons why it may be said that digital black and white photography is better than analog black and white photography.
From the Paper
"More than that, the technology that makes digital black and white photographs possible always runs the risk of becoming obsolete. For instance, the old Epson 2200, 7600, 9600 printers have been pushed aside by Epson Stylus Pro 4800, by the Epson Stylus Pro 7800, and by the Epson Stylus Pro 9800 (FLAAR Network, para.8); simply put, unlike the fairly low-maintenance prints rendered by analog cameras, the "splashy" digital B&W prints of today place photography enthusiasts in the uncomfortable position of seeking out new technological tools that have a (quite literally) a built-in obsolescence factor. Be that as it may, though, most photographers will gladly accept this trade-off if it means the chance to be more creative."
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