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Pablo Picasso, 2007.
This paper examines the life and work of Pablo Picasso between the years of 1932 and 1935.
2,805 words (approx. 11.2 pages), 11 sources, APA, $ 83.95
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Abstract
This paper describes the influences on Pablo Picasso's work during the years between 1932 and 1935. The writer cites the influence of Picasso's personal and romantic relationships as having a significant impact on his style and subject matter. The paper also details the friendly and respectful rivalry between Picasso and Henri Matisse, and the influence of surrealism on Picasso's work. Several of Picasso's paintings are described and analyzed.
Outline:
Introduction
Marie-Therese Walter
Matisse
The Paintings
Conclusion
From the Paper
"The renowned art critic Hebert Read characterizes the period between 1932 and 1935 as a period of intense creativity, psychological change and growth in Pablo Picasso's life. It is also seen a period of soul-searching and a change in style, which is characterized by portraits and paintings of archetypal female images. Read states that these archetypes and the style of this time were preceded by paintings such as Woman in an Arm-chair (1929) and the Standing Bather and Seated Bather of 1929. This style, according to Read, was to continue throughout the rest of Picasso's career. (Read 149/150)"
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Negotiating, 2007.
This paper studies the act of negotiating, concentrating on creating artistic and financial value in commercial arts negotiations.
780 words (approx. 3.1 pages), 2 sources, MLA, $ 27.95
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Abstract
In this article, the writer notes that according to the guidebook 'The Manager as Negotiator', the very essence of negotiation is creating and claiming value. The writer explains that every person in a negotiation strives to advance his or her interests and maximize his or her advantages. Further, the writer points out that the goal of the process is ultimately to attempt to bridge the gap, ideally, between two different points of view by creating a more equitable solution that improves upon either party's narrowly advanced interests. The writer concludes that this dilemma between the producers and the musicians highlights the difficulty of negotiation when two parties approach the issue not simply with two distinct interests, but from two different philosophical paradigms of who owns the art that is the essence of both side's livelihood and lives.
From the Paper
"David Lax's and James Sebenius' illustration of this principle is that of bartering. For example, two persons with different material goods, such as bananas and pears, are able to come to an better agreement if they can arrive at a fair price, than they would be had they refused to trade at all, as both will have more variety of foodstuffs in the long run. However, this example can prove difficult when one party attempts to transpose this assumption onto the field of the arts. In business negotiations, finances tend to dominate. No matter how divided the two parties are in terms of how they see an issue, usually the crucial matter involves dollars and cents. Likewise, in a divorce settlement, emotions and the welfare of the children often dominate the proceedings, even though finances are also an issue. Regardless, both parties tend to view the proceeding from the same paradigm - either primarily from a professional or a personal standpoint."
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Teaching: An Art and A Science, 2007.
This paper describes how teaching is both an art and a science.
1,488 words (approx. 6.0 pages), 7 sources, MLA, $ 49.95
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Abstract
The paper discusses how teaching is an art because teaching is, by its very nature, creative and interpretative. The paper shows how it requires both experience and previous advanced-level study of an academic subject. The paper maintains that teaching is also a science because it involves both the formal study of education and/or an applied academic area. The paper relates that teaching also requires a scientific process of trial and error in order to evaluate which pedagogical approaches and techniques work well in the classroom.
From the Paper
"Subsequently, student teaching gives the newest teachers their first actual classroom teaching experiences, and then teachers acquire further teaching experiences in their own classrooms once they finish their student teaching requirement. Experience is valuable for teachers because it is that alone that teaches them what works in the classroom and what does not; it is through experience, in fact, that teachers acquire (or, in many cases, do not acquire) the distinct "artfulness" of teaching style that distinguishes them in their profession and sets them apart from others."
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Artistic and Cultural Movements in the 20th century, 2007.
This paper portrays the trends in art, music and literature that emerged in 20th century France.
1,175 words (approx. 4.7 pages), 5 sources, MLA, $ 40.95
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Abstract
The paper discusses how the late 19th and early 20th centuries enjoyed a prolific variety of artistic and cultural movements that forever changed the faces of visual arts, literature and music. The paper describes how the early 20th century in particular seemed to be a time ripe for intellectual and creative innovation. The paper mentions Pablo Picasso, Ernest Hemingway and Josephine Baker as a part of this amazing community of artists. The paper illustrates how Paris of the early 20th century experienced an epidemic of creativity that spilled over and infected countries around the world and started the ripples that would eventually build up to crashing waves of major artistic movements.
From the Paper
"Paris reacted to the end of the war with absolute jubilance. It seems like a logical consequence that after facing half a decade of fear, violence, death and disease the city would explode into an atmosphere that nurtured anything that smacked of life. Drinking, drugs, sex, and the Running of the Bulls lured many up-and-coming and some already established artists to the city (Seigal 18). An unprecedented mingling of great minds and talents created such an artistically charged atmosphere left even the dullest among them inspired and eager to create. The city became an artist's Mecca, drawing in talents of all caliber and envy from those who couldn't make it."
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"The Toilet of Venus" (1647-51) by Diego Velasquez, 2006.
This paper discusses the gender construction in the painting "The Toilet of Venus" ("The Rokeby Venus") (1647-51) by Diego Velasquez.
2,765 words (approx. 11.1 pages), 9 sources, APA, $ 82.95
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Abstract
This paper explains that Diego Velazquez's "Toilet of Venus", popularly known as "The Rokeby Venus", created a great deal of controversy in the early 20th century. The author points out that, while the artist himself was inspired to create this artwork based on socially acceptable views of women at the time and while it could be featured today in any reputable museum without causing so much as a blink by even the most conservative audience, these perceptions tend to change over time. The paper relates that the gender construction developed by this work of art was deemed sufficiently exploitative that military female activists, known as suffragettes, targeted it for destruction because of its lurid portrayal of the nude female form and its suggestive qualities. The paper includes a picture of the painting and several long quotations, many of which are embedded in the text.
Table of Contents
Review and Discussion
Background and Overview.
Historical Setting and Social Transitions.
Treatment of Gender Construction in Valezquez's "The Rokeby Venus."
Figure 1. Velazquez, "The Rokeby Venus".
Conclusion
From the Paper
"According to Bartley (2003), the Women's Social and Political Union (WSPU) was founded by Emmeline Pankhurst, her daughters and some friends to campaign for votes for women. ... The suffragettes as the WSPU members were called, engaged in a wide range of activities that targeted existing gender disparities, including chaining themselves to railings, writing "Votes for Women" with acid on golf courses that were all-male, disrupted the postal service, verbally and physically attacked members of parliament, put graffiti on government buildings and even church walls and broke windows as well as attacking specific works of art in public galleries and burnt down buildings."
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William Morris, 2007.
A biography of the life of poet and artist William Morris.
2,194 words (approx. 8.8 pages), 7 sources, MLA, $ 68.95
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Abstract
This paper looks at the life of William Morris, a nineteenth century poet, artist, designer, and socialist reformer, noted for, among other things, his designs in stained glass. The papr relates how, in his work, Morris emphasized craftsmanship and the natural beauty of materials and that, in this regard, Morris' work was a reaction against the heavily ornate and mass-produced goods of the Victorian era.
From the Paper
"When Morris was at Oxford, he read Ruskin's work and later embarked upon a career in the decorative arts, which was then not seen as a "suitable" occupation for a man of the upper middle classes, though Harvey states that "he must have taken heart from Ruskin's assertion that the decorative arts were serious arts, because, along with architecture, they created the visual environment in which men and women lived" (Harvey 15). Ruskin elevated images of medieval society, showed a preference for hand-crafted wares, and insisted that the artist, designer, and craftsman should be seen as one."
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Sandro Botticelli, 2007.
This paper explores the life and works of Sandro Botticelli, a Florentine artist who painted during the early Renaissance period.
1,539 words (approx. 6.2 pages), 10 sources, MLA, $ 50.95
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Abstract
This paper examines Sandro Botticelli's life and influences on his painting. First, the writer gives a brief biography of Botticelli's life, citing the major philosophical and artistic influences that affected his art. Next, some of Botticelli's works are described with an emphasis on his personal style and subject matter. In particular, the paper cites the influence of Neo-Platonic philosophy on his works and the concept that there is an ideal world as opposed to the ordinary world of common reality.
Outline:
Introduction
Brief Biography and Influences
Influences, Style and Art
From the Paper
"In more philosophical and theoretical terms one of the major influences on his life and work was that of Christian Neo-Platonism. This was a theory or view that attempted to, "...reconcile classical and Christian views," and was to have a profound influence on the subject matter of his works, as well as on his style. (Sandro Botticelli: 1445 - 1510) The Christian Neo-Platonic attempt to bring together these different views of life and reality can be seen in famous works like Birth of Venus. In other words, this was an attempt to bring together Christian and pagan subjects and styles."
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Andre Derain, 2007.
An analysis of the life of Andre Derain and an analysis of his artwork, "Charing Cross Bridge."
1,537 words (approx. 6.1 pages), 5 sources, MLA, $ 50.95
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Abstract
This paper discusses the life and works of Andre Derain, who was one of the most interesting artists of the 20th century. The paper discusses Derain's various painting styles, but describes him as best known as one of the fathers of fauvism, which was the first movement of the modern period which developed in France. The paper specifically focuses on analyzing his artwork entitled "Charing Cross Bridge."
Table of Contents:
Introduction
Charing Cross Bridge
Conclusion
From the Paper
"The abandoning of more traditional modes of painting is extremely evident in this painting. The photographic quality that is often scene in landscape paintings is not present. In addition, Derain uses extremely vivid colors and the colors have very little variation (light and dark shades). Instead Derain uses flat color. At the time this was a very revolutionary form of painting. Indeed Bazin et al explains that most of the fauvists including Derain were often confronted with bourgeois conformity or the tutelage of younger artists (Bazin et al). However they displayed a type of progressive freedom in the way they carried themselves and how they spoke (Bazin et al)."
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Art Politics, 2006.
A discussion regarding the question 'What is Art?'.
992 words (approx. 4.0 pages), 5 sources, MLA, $ 35.95
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Abstract
This paper takes a look at the issues surrounding the question of what is art. According to the paper, this seemingly simple question has been asked for years, perhaps even for centuries. The paper attempts to answer this question.
From the Paper
" The artist brings to the show one of his/her most beautiful pieces of art, but the subject is a naked 10 year old boy in an erotic pose. The artist believes it is a masterpiece, but the owner of the gallery views it with horror. The artist is told that it cannot be displayed. The artist sadly takes the piece away and does not display it. After the artist dies, the piece sells for $1 million and is considered the artist's finest work. This could be an example of the power of the gallery owner or director."
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BalletNY and the History of Ballet, 2007.
This paper provides an overview of the history of ballet and looks at the BalletNY dance company.
1,909 words (approx. 7.6 pages), 11 sources, MLA, $ 60.95
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Abstract
Describing ballet as a classical dance form characterized by grace and precision of movement and elaborate formal technique, the writer of this articles presents a history of ballet. The writer looks at the BalletNY company and notes that BalletNY has become a well known and respected dance Company. The writer discusses BalletNY's principal dancers. The writer concludes that the New York City Ballet has done what BalletNY hopes to do, acquire one of the largest, most faithful, intelligent, and enthusiastic audiences in the American theater world.
Outline:
Humble Beginnings
The Emergence of Ballet
Opra Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper
"Formerly DanceGalaxy, BalletNY was founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and International Guest Artist Medhi Bahiri. BalletNY is comprised of accomplished principals and soloists who have danced with leading American and international ballet companies such as New York City Ballet, American Ballet Theatre, Dance Theater of Harlem, and the Joffrey Ballet, among others."
"Judith Fugate is a former principal ballerina with the New York City Ballet. She has danced roles in virtually every ballet in the NYCB repertoire counting Peter Martins and Mikhail Baryshnikov among her many famous partners. In 1997, she left the New York City Ballet Company to purse a career as a freelance Guest Artist and Co-Artistic Director of what is now known as BalletNY."
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Japanese Prints and the Impressionists, 2007.
This paper explores the influence of Japanese printing on 19th century European art.
1,600 words (approx. 6.4 pages), 10 sources, MLA, $ 52.95
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Abstract
This paper explores the influence of Japanese wood-block prints on Impressionist and Post-Impressionist painting. The writer introduces the evolution of wood-block printing in Japan and its distinctive form, technique and style of drawing that attracted the impressionists. This is followed by a listing of artists who were exposed to these prints and how they affected their works. These artists include Degas, Pissarro, Cassatt, Renoir, Morisot, and Manet among others.
From the Paper
"This type of printing changed during time, and the works that we see today and also the ones the impressionist saw were the end product of a long evolution. "Printmaking is composed of the division of labour of many craftsmen, such as painters, engravers and printers, and needs at least the same number of different woodblocks as colours, often more than twenty wood-blocks. At first, there was just a one colour woodblock prints with brush-added colour in the 1710s, then two or three colours wood-block prints evolved in the 1740s, and finally in the 1760s the multi-colour wood-block prints called "nishiki-e" (brocade picture) was invented and continued to the early Meiji period in 1890s." "
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Islamic Art, 2007.
An examination of Islamic exhibits into Islamic ancient music, art and dance.
940 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper discusses Islamic art, music and dance. It presents these three aspects of Islamic art in the form of an exhibition and details the history and practices of each art form. It begins by discussing five Islamic musical instruments, then goes on to discuss Islamic views on dance and finally looks at the different cultural influences that contribute to Islamic art.
Table of Contents:
Introduction
Music
Dance
Art
From the Paper
"Muslims have had different views about dancing. Throughout Islam history, there have been times of greater acceptance or rejection of dance. Some believed there should be no dancing. To others, folk dancing between the same sex is acceptable, but not between mixed couples. Also, some see dancing as a way to become closer to Allah. Sa'adi, a Persian poet wrote about a band of travelers who came upon a boy who danced beautifully. Everyone was amazed by his talents, except a man who complained that dancing was wrong. However, his camel lifted his feet in dance and threw the rider to the ground. Those around said that even God's creatures could enjoy the dance, so why not he?"
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Dada Art, 2006.
This paper describes the Dada movement and the artists Marcel Duchamp and Francis (Francois) Picabia.
2,675 words (approx. 10.7 pages), 5 sources, MLA, $ 80.95
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Abstract
This paper explains that the Dada movement, whether a painting, book or treatise, was intended to make the viewer think, to reconsider every one of his or her opinions, to break through the old boundaries and begin to look at the world in a new way. The author points out that Marcel Duchamp's "Fountain", an ordinary urinal, was his manifesto about the society for which the "artwork" had been made because, in this still nearly-Victorian age, Duchamp committed the unpardonable sin of making public that which should never even be mentioned. The paper relates that Francis Picabia's "painting" "Sainte Vierge" or "Holy Virgin", which is no easier to identify with than Duchamp's "Fountain", is an inkblot; the importance of which is the viewer's initial reaction to this Dada art. The paper includes several long quotations.
From the Paper
"Whether in New York or Europe, Dada was a "movement" of the avant-garde. In order to understand the Dada, one must look into the conditions that gave it form and substance. The First World War was only an immediate cause - it was the spark that caused people like Duchamp and Picabia to search for a radically new form of expression. But Dada was more than paintings. Drama and literature could as much be expressions of Dada as any of Duchamp's or Picabia's works. By the time, Duchamp and Picabia had begun, independently, to create the style that would become Dada; the avant-garde had already established itself as a synthesis of the radical and the rebellious."
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War, 2007.
This paper studies various works in order to examine the subject of war.
883 words (approx. 3.5 pages), 4 sources, MLA, $ 31.95
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Abstract
In this article, the writer points out that a variety of artists and others have sought to encourage people to consider both the horror of war and whether a need for warfare actually exists. The writer notes that in her essay "Warfare: An Invention-Not a Biological Necessity," anthropologist Margaret Mead argues that waging war is a choice made by humans and not something innate to our species. The writer describes that in "The Man I Killed," Tim O'Brien communicates the effect of choosing warfare on one soldier. The writer also explains that Garry Trudeau, in his cartoon "Doonesbury", uses visuals to broaden the message and demonstrate the high number of soldiers who have endured the trauma of war. Further, the writer discusses a painting by the Spanish artist Pablo Picasso, that shows an image of warfare based on civil war in Spain that demonstrates the terrible toll war can take on non-combatants. The writer concludes that the four artists present war as both avoidable and terrible.
From the Paper
"Mead did not analyze any particular war. Rather, she demonstrated that warfare is an act that was invented by societies, not something necessary for human existence. By doing this, she argued that warfare was avoidable. She used the parallel of how trials developed through time in societies, evolving from barbaric practices to civil, logical proceedings. Through this analogy she suggests that war is barbaric and that societies should strive to find nonviolent ways to settle differences between countries and societies, just as societies have found civil ways to settle disputes between individuals or between individuals and the societies in which they live."
"Having established that warfare is only one way to settle differences, the other artists in this selection of examples demonstrate what it is that makes war barbaric. Tim O'Brien's story draws the reader into the mind of both the American soldier and the Vietnamese soldier he kills. We feel the horror of the American soldier, Tim, as he views the terrible damage done to the enemy soldier."
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African Art and Repatriation, 2007.
A debate over the importance of cultural repatriation of the Lega figure to the people of Congo.
715 words (approx. 2.9 pages), 2 sources, MLA, $ 25.95
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Abstract
This paper discusses the issues surrounding cultural and artistic repatriation, which remains one of the most contentious debates within the international archaeological and artistic community. The paper specifically discusses the Lega figure and the arguments for and against its repatriation, for cultural reasons, to the people of Congo. The paper then draws a conclusion as to the best course of action to take, regarding this piece of work.
Table of Contents:
Basic Criteria For Repatriation
Argument In Favor Of The Return Of The Selected Object
Argument Against The Return Of The Selected Object
Conclusion
From the Paper
"However, merely because using the Lega figure as teaching tools in museums to different nations of the world does not justify the cultural loss to the people of the Congo, who originated these works to be part of their religious tradition, not as artifacts to teach the nations who exerted colonial domination over their territories. Also, even if the Lega figures are individualistic, this does not take away from their ritual significance. Finally, the idea that Western art scholars only approved of the Lega after recognizing the individual component added by certain creators shows that the Lega remain judged by Western standards, and not by the indigenous standards of their local community--the repatriation and relocation of the works may be necessary so the world can be educated in the contextual significance of these figures as well as judged by Western standards."
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The "Heart Sutra", 2007.
A description of the "Heart Sutra," a 2001 Korean work of art by the artist Yoon Kwang-cho.
1,075 words (approx. 4.3 pages), 0 sources, $ 37.95
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Abstract
The paper describes how to the naked eye of the casual observer in a museum, the work looks like a rough, oblong stone with an unfinished granite-like texture. The paper portrays the overall effect upon the viewer as one of curiosity, rather than awe or power, given that the observer cannot gain full access to the meaning or even the placing of the work. The paper shows how the slab with the sutra ultimately poses more questions than answers, due to its incomplete nature. The paper suggests that this sense of unfinished texture of the stone and the word's meaning is perhaps the most powerful effect of the work.
From the Paper
"To a Western eye, this slab looks almost like a Rosetta Stone, or an ancient artifact from long past that is supposed to encompass the words from another time or place and memorialize these words in a kind of sculpture. The stone appears ripped or extracted from something larger than the displayed artifact, as if it is an ancient bit torn from a ruin, rather than a complete and holistic work or vision of an artist. The form of the sculpture, a recreation of an archeological work, suggests that the artist wished to suggest that the work was, in some sense, ripped from the past, either figuratively or literally."
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"Dancers in Pink", 2007.
An analysis of the techniques employed by Edgar Degas in his painting "Dancers in Pink."
1,379 words (approx. 5.5 pages), 8 sources, MLA, $ 46.95
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Abstract
This paper analyzes the painting "Dancers in Pink," painted by Edgar Degas in 1878. The paper describes the compositional structure of the painting and how it appeals aesthetically to the viewer. The paper then goes on to discuss the synthesis between form and color in the entire work and how they enhance the overall painting. The paper concludes by describing the use of paint and the technique of paint application, as well as Degas' choice of hues and tones.
From the Paper
"This experimentation with painting technique can be seen in the different method of paint application work. Some areas in the dresses of the two main figures are thinly painted, possibly diluted with turpentine, while others seem to be more impasto-like in their quality. It is the use of washes over thick paint that, especially in the skin tones, provides the feeling of tactile sensuality. It seems as if the pink and orange has been painted over an underlayer of flesh tones, which can just be seen beneath the rich folds of the dresses. The brush strokes also vary throughout the painting, with smoother and crisper brushwork in the dresses and figures and rougher, more 'sketchy' brushwork in the background and in the smaller figures."
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Ansel Adams, 2007.
A biography of the American photographer, Ansel Adams.
1,428 words (approx. 5.7 pages), 4 sources, APA, $ 47.95
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Abstract
The paper examines how Ansel Adams was a "straight photographer" who captured the beauty of natural America, particularly the West. The paper explores how he was also a national icon who worked tirelessly for the preservation of the national parks and furthered the cause of environmental groups such as the Sierra Club. The writer proposes that Adam's art was an expression of himself, in the sense that he found the sublime in nature and transmitted it so that others could experience the same refulgence.
From the Paper
"An artistic sensibility characterized the young Ansel Adams. "When Adams was twelve he taught himself to play the piano and read music. Soon he was taking lessons, and the ardent pursuit of music became his substitute for formal schooling." He imagined himself becoming a concert pianist. Such training was not wasted, even though he did eventually give up the piano in favor of the camera. "From music, he brought to camera work long hours of practice. This accustomed him to technique and hard work; intense study of great composers led him to a deep sense of esthetics, also the direction of creativity required of a performing artist, which interestingly enough, fit photography very well."
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