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Andy Warhol?s ?Marilyn?, 2006.
A description and analysis of Andy Warhol's "Marilyn" art pieces.
2,004 words (approx. 8.0 pages), 3 sources, MLA, $ 63.95
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Abstract
This paper describes the Andy Warhol's images of Marilyn Monroe, displayed in his 1962 art exhibit. The paper explains the techniques and processes Warhol used and the message about society he tried to impart. The paper points out that the Marilyn images are a comment on the commercial aspect of art as well as the willingness of the public to buy into escapism.
From the Paper
"There is controversy about exactly which image Warhol used to create the final work. The one that is widely accepted to be the source work, may be from the same photo session, but Warhol may have used a different shot. This is unknown. The image Warhol silkscreened is another pose, a new facial expression and different lighting. The process, however, is the determing mechanism of the final form of the work. His working method is well known. He chose a photograph, cropped it as necessary, then ordered a silkscreen in a specified size. Variations occurred when screening the reproduciton onto the canvas.
The artistry lies in the control of the density of the paint. In this way he was able to vary the black images between faint and darkly saturated. At this time, he elaborated the presentation of the photographic material, transforming it according to what he wanted the finished work to say. This method created an initial shock in the finished work and is the essence of its lasting significance."
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Surrealism and Photography, 2006.
An overview of surrealism and how photography impacted this form of artistic expression.
1,726 words (approx. 6.9 pages), 7 sources, MLA, $ 55.95
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Abstract
This paper takes a look at the surrealist movement, explaining that it was, at the same time, a poetic, philosophical and political movement and that the advent and development of photography as an art form had a great impact on surrealism. The paper describes and analyzes some of the works of early surrealists, including Man Ray and Andre' Breton.
From the Paper
"In a 1913 issue of Alfred Stieglitz's Camera Work, de Zayas criticized the medium of photography for being a "concrete representation of consummated facts," which "drew away the veil of mystery with which Art enveloped the represented Form." [Perpetual, p. 16] Yet the budding surrealist movement was beginning to embrace photography as a novel mechanism for the expression of its ideals. Photography allowed for a randomness that was central to surrealist practice. The innovations in photographic and developing techniques - especially those of Man Ray - gave surrealists a larger forum to explore their ideas of unstable reality, dream-like states and bizarre juxtapositions of everyday images."
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Chinese Art, 2006.
A guide to the study of Chinese art through the Yuan dynasties.
2,445 words (approx. 9.8 pages), 4 sources, APA, $ 74.95
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Abstract
This paper examines how the study of art of the dynasties up to and through the Mongol Yuan dynasties involves the blending of art from the prior dynasties into the Yuan.
Outline
Thesis Statement
The By the Artist Approach
Ch'ien Hsuan
From the Paper
"Cahill suggests in his writings, both the work cited and other volumes of his body of works, that perhaps the easiest manner for the Westerner to understand the full significance of Chinese Art through the Yuan dynasties is by the study of several of the artists of the periods involved. This therefore gives one a truer picture of what precisely the circumstances, pressures, social effects and other factors during the time of any given work's preparation. This becomes a vital key to the understanding of the whole scope, and a very large scope it is indeed, of this vast period of World history. A history too many Westerners know very little about and because of the circumstances now existing in China and Taiwan even the Chinese literate are beginning to loose sight of in their headlong rush into globalization. "
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Leonardo Da Vinci, 2006.
A look at the life, talents and career of Leonardo Da Vinci.
2,356 words (approx. 9.4 pages), 5 sources, MLA, $ 72.95
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Abstract
This paper begins with a brief biographical sketch of famous artist, engineer and inventor, Leonardo Da Vinci and then takes a more in-depth look at his career. The paper separates Da Vinci's career between his art and his inventions in an effort to give a wider perspective of the man, his mind, and the times in which he lived and worked.
From the Paper
"Leonardo da Vinci was born in Vinci, Tuscany, the illegitimate son of a prominent notary of Florence, in 1452. While we immediate think of "The Mona Lisa" as his most outstanding work, de Vinci, from an early age, revolutionized the art of painting as well as drawing, but renowned as he is as an outstanding painter, it is as engineer and designer and inventor that the people of his time were to honor and respect him the most. There were, at this time, a number of fine painters, but few who could provide insight on canvas, and develop and design buildings and create innovative structures as he could."
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The Italian Renaissance, 2005.
A summary of the Italian Renaissance and its influence on Italian society.
1,855 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
This examines the early stages of the Renaissance. It shows how the Black Death ironically played an important role in its development. The paper also provides an overview of famous figures during the time, including Lorenzo Medici, Dante Alighieri and Michelangelo .
From the Paper
"Thanks to benevolent people such as the Holy Roman Emperor and princes, artists were able to devote their time to art, and not have to worry about supporting themselves. This helped art flourish even more as artists could be entirely dedicated to their work. Without this support from both the clergy, and townspeople buying and supporting art and artists, the era would have failed to produce works of the caliber that it did."
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Japanese Shoji Screens, 2005.
Examines the history and functions of shoji screens used to divide living spaces in Japan.
2,000 words (approx. 8.0 pages), 5 sources, APA, $ 63.95
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Abstract
The traditional Japanese home is based on Ma - the balance between space and objects. The space is divided by shoji screens, which slide on wooden tracks and can be detached to let the outside in. This paper discusses the history of shoji screens and how it influenced western design.
From the Paper
"Shoji has been used in modern Western homes in various ways. Large pane windows with unpleasant views are roofed with shoji to improve the overall appearance. Walls are covered with shoji to increase the sense of spaciousness as well as to add more light through the screen's natural reflecting qualities. A pair of shoji sliding doors is ideal for bathrooms, and space-saving shoji doors function as a closet. For the bathroom, waterproof material often is built-in with the shoji."
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Controversy in Artistic Expression, 2005.
Examines the controversial works of photographers Sally Mann and Andres Serrano.
1,390 words (approx. 5.6 pages), 5 sources, MLA, $ 46.95
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Abstract
Art that provokes a passionate response could be considered the "best" art, because whether the emotions it stirs up are positive or negative, their intensity is profoundly connected to the depth of visual expression the artist is able to convey. Unfortunately, those who are offended by certain works of art fail to see the matter from this perspective. The paper argues that, fortunately (and quite ironically) those who attempt to censor "offensive" expressions are generally the ones that bring an artist the greatest attention. This has undoubtedly been the case for controversial photographers such as Sally Mann and Andres Serrano. The paper looks at Serrano's "Piss Christ" and Mann's photographs which depict nude and battered children.
From the Paper
"Mann's most familiar, and controversial imagery focuses on the lives of her three children. They are depictions of innocence about to be shattered by the intrusion of the adult world with its lies, violence, and corruption. They are not intended to arouse the viewer sexually but to arouse thought provoking introspection regarding the pain of growing up."
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Moser and Glaser Compared, 2005.
Compares and contrasts two posters by artists Koloman Moser and Milton Glaser.
1,533 words (approx. 6.1 pages), 3 sources, MLA, $ 50.95
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Abstract
Koloman Moser became one of the founding fathers of the Viennese Movement and one of the most remarkable artistic figures of the turn of the century. This paper examines his 1904 poster, poster "Religious Calendar", which was created in 1903, at the height of the Art Nouveau and Bauhaus movements. The paper then examines a poster by Milton Glaser, who is considered the most outstanding graphic designer of the last half of the 20th century. The poster depicts singer, Bob Dylan.
The paper compares and contrasts the two works of art and shows how each artist used a distinct approach.
From the Paper
"Dylan, especially because of the vivid and bright coloration of the hair, is a much more optimistic creation than the Religious Calendar. As previously pointed out, there is an air of intriguing mystery surrounding Moser's poster which doesn't exist in Glaser's case, where the artist was even keen on noting on the character to whom it was referring to, in case there was any confusion. While in Moser's case, the interpretation of the character could range anywhere from a witch to the black widow, Glaser points out simply that this is DYLAN."
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Cindy Sherman, 2005.
Discusses the career of this contemporary American photographer.
1,553 words (approx. 6.2 pages), 8 sources, MLA, $ 50.95
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Abstract
Cindy Sherman, post-modern photographer, can be considered a bit of a rebel due to her opinion of photography as an art form. This paper examines what sets Sherman aside from other photographers of her time by examining her photographic career. It also examines the difficulty in 'categorizing' Sherman's work. The paper touches on post-modern feminist theory.
From the Paper
"Again, categorizing Cindy Sherman as a post-modernist, or as a symbol of feminism escapes most critics. As she herself would have said "I am whatever I want to be." And that includes her poses as famous actresses or models of centuries earlier. And yet, the "woman photographer" label continued to follow her."
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Santiago Calatrava, 2004.
An analysis of the works of architect, Santiago Calatrava.
2,213 words (approx. 8.9 pages), 3 sources, MLA, $ 68.95
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Abstract
This paper takes the reader on a journey through the Metropolitan Art Museum as spectators of a Santiago Calatrava exhibition. The paper presents Calatrava as one of the world's greatest architects, highlighting how his architectural works are translations of his actual art. The paper examines and discusses several of Calatrava's artistic and architectural pieces. The paper contends that it is his ability to blend mediums that makes Santiago Calatrava so successful, for he is not just an artist but nor is he just an engineer, he is the next generation of hybrid architects who can transcend their craft to become master artists.
From the Paper
"When I went to the Metropolitan Art Museum to the see Santiago Calatrava, I did not know what to expect, he is after all one of the world's greatest architects. Some of his art includes the most prolific designs for bridges and train stations the world has ever seen. I have seen his work first hand in the form of the Birdlike expansion to the Milwaukee Art Museum that he designed years back. When I began researching him for our class, I realized that Santiago Calatrava's architectural works are translations of his actual art. This seems extremely interesting because I cannot imagine how one can translate one artwork across two such different mediums. Therefore when I went to the art exhibit at the MET I was both excited and filled with apprehension. The exhibit itself was handled extremely well, it was placed front and center as a showpiece at the MET. The lighting was extremely good which was important, as many of his pieces are architectural prints or renderings."
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Real Art, 2006.
A discussion of what defines art and other questions that are central to the philosophy art.
1,386 words (approx. 5.5 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper examines questions relevant to the creative process and how art is created. The paper looks at how we define art, how we distinguish art from non-art and the place of art in an increasingly pedestrian society. The paper also attempts to explain how it is that society distinguishes art from among the images that are displayed to us through the newspapers, the television, and the internet and discusses whether digital video is as much art as film, or whether film can even be considered art. Finally, through an examination of the thoughts of three people who theorized about art, Walter Benjamin, Marshall McLuhan and Jean Baudrillard, the paper attempts to answer all of these questions.
From the Paper
"His reversal of judgment on the electronic age is never explained very well. Perhaps he became disillusioned with the fraud and the forgery that the Internet could lead to, or perhaps he felt that the electronic age would lead to even more isolation than did the invention of the printing press. Since it is unknown exactly why he changed his mind, it is impossible to say whether or not he agreed with in principle with Benjamin. What is known is that he died with the same contempt for the digital and mechanical reproduction as Benjamin had."
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Master Ukiyo-E Artist: Kitagawa Utamaro, 2005.
This paper discusses the Tokugawa society and its master ukiyo-e artist Kitagawa Utamaro.
2,585 words (approx. 10.3 pages), 5 sources, MLA, $ 78.95
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Abstract
This paper explains that Kitagawa Utamaro, a master of portraying beautiful women in the pleasure quarters of Edo (modern Tokyo), was a significant contributor to the ukiyo-e arts and was a great influence to future artists such as Monet, van Gogh and Gauguin. The author points out that Kitagawa Utamaro's artwork flourished under the highly restrictive and moralistic Tokugawa government; nonetheless, his wood block prints were highly regarded. The paper relates that ukiyo-e artists always concerned themselves with pictorial themes, which emphasize the popular, the familiar or the erotic, at times exceeding the limits of morality.
From the Paper
"Financial security took on the form of a national market economy as well. The Tokugawa government implemented a widespread and lasting expansion of domestic commerce and manufacturing that heavily relied on money and credit, "This monetization of the economy made possible nation-wide transactions of a long-term nature, and caused the disappearance of barter and sporadic fairs." The social and political stability helped with the development of trade and credit facilities in Nagasaki, Kyoto, Osaka and Edo. Under Tokugawa rule, the townspeople enjoyed more opportunities and greater security in these places than in the average castletown. Due to these developments, more people were able to engage in trade and there was a creation of occupational skills, pride and integrity."
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American Decorative Arts, 2006.
A history of the interest in Orientalism in America and its influence on the decorative arts.
2,464 words (approx. 9.9 pages), 10 sources, MLA, $ 75.95
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Abstract
This paper begins with a look at what sparked the great interest in Orientalism beginning with the 19th century and continuing until the 1930s. The paper also describes the influence that Orientalism had on American tastes in decorative arts and explains that this interest in Orientalism was no doubt encouraged by the opening of the Suez Canal which had the effect of providing artists with abundant and seductive new motifs for their work.
From the Paper
"Although Bonaparte had had the idea years earlier, it was in 1854 that the French diplomat, Ferdinand de Lesseps persuaded the Viceroy Said of Egypt to grant him the concession to cut a 100-mile long canal across the isthmus of the Suez. DeLesseps had cultivated the Viceroy Said even when the Viceroy was a young man and De Lesseps was the French ambassador to the Egyptian court" (African Business 2003, p. 64). "The creation of the Suez Canal captured the imagination of people around the world, and its opening in 1869 was a party to end all parties. As the champagne flowed, it was hailed as a symbol of progress that would serve to unite the world. You might even call it one of the first adventures in globalization-an infrastructure project designed to strengthen links between Europe, East Africa, the Middle East and the Orient" (African Business 2003, p. 64). In hindsight, of course, it did not work out as the great peace- and commerce-maker some may have had in mind."
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Art Business, 2005.
A SWOT analysis of a business specializing in art dealings.
1,089 words (approx. 4.4 pages), 1 source, MLA, $ 37.95
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Abstract
This paper examines the market position of an art dealer specializing in Old Masters' paintings. It presents a SWOT analysis of the business and provides recommendations for the future of the business.
Paper Outline:
Situation Overview
Strengths
Weaknesses
Opportunities
Threats
Recommendations
Bibliography
From the Paper
"There are three primary weaknesses that Janet must address, that affect her business. The first is the fact that she does not have a consistent presence in America. Most of Janet's clientele are either American or European, and currently she only builds on this American market segment by attending one to two shows each year in the United States. Which brings to light Janet's second weakness, the lack of marketing efforts she utilizes, other than the few art fairs she attends, gallery location for street traffic and word of mouth."
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The Price of Art, 2005.
Examines several factors which determine the price of art in contemporary society.
2,178 words (approx. 8.7 pages), 3 sources, APA, $ 67.95
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Abstract
There are almost as many ways to argue that the price of a work of art does not necessarily reflect its aesthetic value, as there are artists and buyers, market forces and market constraints. Having said that, however, the paper shows that there are also significant and variable forces determining the prices of art; a short listing of just some of these and their probable effects in this paper make it clear that there can almost never, in fact, be a perfect marriage between a work of art and its price.
Paper Outline:
Introduction
The Arab Factor
The Propaganda Factor
Post-, post-, post -modernism and the Price Point
Two Paths to Price/Aesthetic Disparity
Conclusion
Works Cited
From the Paper
"Whether the government was attempting to prevent the item from leaving the country, the entire event-from the Sheikh's purchase and subsequent hoarding, to the government's art/antiquities market manipulation via legalistic means, at best, certainly would indicate that the price of this object, at least, can have little to do with its aesthetic value, but speaks more to national pride and pride of ownership. (One has not even considered either the ethics of the government in seeking to use its power in the art/antiquities market in this way, or of the Sheikh for using his own trump card-the ability to warehouse such pricey objects with no discernible harm to him.)"
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An Interview with Norman Rockwell, 2006.
A creative writing paper written as though it were an actual interview with famous American artist Norman Rockwell.
1,458 words (approx. 5.8 pages), 6 sources, MLA, $ 48.95
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Abstract
This paper depicts a fictional interview with Norman Rockwell, with the theme of his paintings, depictions of life experiences, and personality as the subject matter of the interview transcript.
From the Paper
"In an interview with Norman Rockwell, I first asked him to give me a very brief overview of his life and how he decided to begin painting. He stated that he was born in New York City, and transferred from high school at the age of 16 to the Chase Art School. H said he then went on to the National Academy of Design, and finally, to the Art Students League, where he was taught by Thomas Fogerty and George Bridgeman. Norman stated that as a student, he was given smaller, less important jobs, but his major breakthrough came in 1912 with his first book illustration for C.H. Claudy's Tell Me Why: Stories about Mother Nature.
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The Alamo and Michelangelo, 2006.
This paper analyzes the architecture of The Alamo in San Antonio, Texas from Michelangelo's point of view.
1,458 words (approx. 5.8 pages), 5 sources, MLA, $ 48.95
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Abstract
This paper critiques the building from the point of view of architect Michelangelo who is totally unrelated to the building's design. Written in the first person speech given by Michelangelo, he critiques the building according to his own architectural values and beliefs.
From the Paper
"Perhaps the thing that perplexes me most about this building is the scale. Walking up to it, it simply seems so small, much smaller than most people would imagine, I believe. It is dwarfed by many of the modern surrounding buildings, which adds to its diminutive status. I believe a building should be grand and impressive, and unfortunately, the Alamo is unassuming and could easily be overlooked. If I had a hand in renovation, I would add a grander fa?ade, perhaps less symmetrical but with more interesting and relevant details, such as more columns, and certainly a balustrade accessible for tourists to ascend to and view the surrounding plaza. I may seem too critical of what is obviously a very important American historical landmark. However, the building is not nearly as impressive as its' history to me, and I think it could be made much more memorable by adding a bit more style, color, and interest. I understand the phrase here in Texas is "Remember the Alamo." I however, will not carry its memory with me for long, as I feel it suffers from architectural apathy, rather than a real joyous interest in creating a unique and valuable monument to God - and to the architect who had a vision for detail and design."
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Edward Steichen, 2006.
An analysis of the life, times and art of the photographer Edward Steichen.
1,144 words (approx. 4.6 pages), 10 sources, MLA, $ 39.95
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Abstract
This paper examines how Edward Steichen engaged in photographic psychological exploration and how he constantly stretched what was once construed as a purely reproductive or at best journalistic form of media to where it had never been stretched before. It looks at how over the course of a long career that spanned nearly a century, Steichen's portraits encompassed a diverse and illustrious cast of characters, ranging from Richard Strauss to J. P. Morgan, Maurice Maeterlinck to George Bernard Shaw.
From the Paper
"The hazy, opaque quality of the Swanson reproduction is characteristic of much of Steichen's photography, as well as the photo's merging of the popular art of cinema and photography with techniques often found in European high art. Steichen was born in Europe, to European parents, but his family emigrated from Luxembourg, to the United States in 1882. Steichen became interested in photography when he was sixteen, just at the turn of the new century. ("Edward Steichen," Getty Museum, 2004) Steichen's most formative years as a developing artist came during his service in World War I, where he organized an aerial photography unit for the United States Army. "
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