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Impressionism, 2006.
An overview of the Impressionist movement, its history, its artists and its influences.
1,508 words (approx. 6.0 pages), 5 sources, MLA, $ 49.95
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Abstract
This paper briefly describes the origins of the Impressionist movement, the artists that best represent the Impressionism movement and how the movement, in essence, sought to create the illusion of forms bathed in light and atmosphere.
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 which helped to withdraw the curtain of classical illusion and brought the nude up-to-date. This form of "Impressionism" set the artistic stage for many years to come and influenced an entire generation of painters well into the 20th century. "
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Art in America, 2006.
An analysis of the influence of the Cruxshadows' song "Telemetry of a Fallen Angel" on the digital art of Mandem.
1,532 words (approx. 6.1 pages), 4 sources, MLA, $ 50.95
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Abstract
This paper examines how inspired by the Cruxshadows' work, digital artist Mandem completed a series of images based on the story of the "Angel IV", which was eventually incorporated into the tenth anniversary edition of their CD. It looks at how this work was not only influenced by "Telemetry of a Fallen Angel," but how it also gives greater insight into the meaning of the album and the Cruxshadows mythology. Some of the elements used in Mandem's visual work that draw from, or contribute to, the "Angel IV" cycle are also discussed.
From the Paper
"This organic dream-self of the Angel IV is presented in Mandem's work in several incarnations, and there is a deep significance in the representation of the Angel as both male and female. The first image of the Angel, with destroyed mechanical Icarus wings, is presented as male, however the second image, whose wings are made of clouds and moths, is female. In the distance of the female moth angel, a point of light meant to represent the male Icarus angel can be seen falling from the sky. As the male angel (knowledge) is broken apart, the female angel (emotion) can exist fully. This Jungian representation of the dichotomy between the male and female angel exists throughout Rogue's work. "
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Japanese and African Art, 2005.
An examination of how Japanese and African art have impacted Western art.
1,054 words (approx. 4.2 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper explains that as explorers and empire builders brought back tales of exotic places, they also carried back with them artifacts and works of art from these "newly discovered" cultures and civilizations. The writer notes that as Western artists began to examine the artistic productions of different peoples - in particular the Japanese and the Africans - they discovered that strict realism and classical design were not the only possibilities. The flood of Japanese prints and African carvings and bronzes that reached Europe and America were to herald the beginning of a whole new era in Western art.
From the Paper
"Japanese prints inspired Western artists, such as Gaugin and Monet, to adopt the angular perspective of the Japanese masters. The picture plane became a set of intersecting planes positioned at different heights along the painting. This was a clear rejection of the traditional "scientific" methods of perspective representations that had been in use in Europe for hundreds of years. As well, European artists began to experiment with the bold color palettes of ukiyo-e. In the works of Toulouse-Kautrec, too, the influence of the Japanese woodblock artists can be powerfully scene. Toulouse-Lautrec's colors, perspective, and even subject matter owe a profound debt to these new influences. In fact, it could be said that Toulouse-Lautrec's lithographs represented a European interpretation of long-established Japanese genre. Much as the great ukiyo-e artists portrayed the "demimonde" of Tokugawa Japan, so too were these same actresses, prostitutes, and assorted habitues of the Paris underworld portrayed by Toulouse-Lautrec."
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The Impressionist Artists, 2005.
A discussion on the French impressionist artists of the late nineteenth century.
1,090 words (approx. 4.4 pages), 4 sources, MLA, $ 38.95
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Abstract
This paper examines how the main theme of the impressionist artists was the reflection of personal impression on canvas. The author reviews the work of impressionists Claudet Monet, Edgar Degas, Auguste Renoir, Alfred Sisley, Camille Pissaro and Berthe Morrisot. It concludes that the contribution of Impressionists is invaluable because they set new standards of fine art, which gave birth to other categories of art such as post-impressionism, symbolism, primitivism and modern.
From the Paper
"The father of the Impressionist movement is considered to be Claudet Monet (1840-1926), French painter of the late nineteenth century, who developed new technique when painting French landscapes on open-air. Monet came to the conclusion that a painting "made on the open air, has a unique freshness and liveliness, which is unable to be achieved when working in the workshop", where the theme is preplanned. According to Monet, painter had to change the way he perceives reality by fragmenting it into naive and primitive images, which formed the core of the aesthetic impression. Monet set a new task to the art, to reflect a momentary impression, to picture every moment and every element of objects motion in order to make painting alive."
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Art in Axis Countries, 2005.
Describes the differences between pre-War and post-War Axis art.
1,330 words (approx. 5.3 pages), 3 sources, APA, $ 44.95
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Abstract
This paper explains that art in pre-War and post-War European Axis countries, in particular Germany, was diametrically different. These differences were largely a result of societal conditions. The paper also explains that pre-War art primarily took the form of propaganda and craft but that after the war, with the exception of Russian art, the art of the Axis countries changed as a result of the influence exerted over them by the west and their own desire to rejoin the brotherhood of nations.
From the Paper
"The figures in the art, whether supposedly gallery art or poster-propaganda art, were supposed to be admirable 'native' figures of whichever nation was producing the art. The style was supposed to relate, also, to previous artworks, although, "In Soviet Russia, however, the whole notion of the 'aesthetic' was rejected as a bourgeois anachronism and was gradually replaced by the evolving theoretical criteria of Socialist Realism." Images of these works come readily to the mind's eye; almost cartoon like, oversized, over muscled figures in plain clothing operating large machines, for instance. "Triumphant was the Holy Trinity of peasant, worker and warrior. And from the very summit of this blasphemous altarpiece shone down the spirit from which all power was derived: the quasi-divine presence of the Leader himself" (Elliott, 1995), at least in Germany."
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Modern Artists, 2005.
This paper discusses the lives and works of Pablo Picasso, Henri Matisse and Diego Rivera, all masters but from different backgrounds and different training, who may have been influenced by one another.
2,520 words (approx. 10.1 pages), 9 sources, MLA, $ 76.95
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Abstract
This paper explains that Spaniard Pablo Picasso was basically a painter who extended his art to sculptures in ceramic and bronze; in the early 1900s, he created the visual style of Cubism, which concentrated on the two dimensional surface of pictures and did not honor the old techniques of perspective, foreshortening, modeling and chiaroscuro. The author points out that Frenchman Henri Matisse's "Large Red Interior" (1948), a painting of his studio, is a dynamic painting with an excellent relationship between line and color and probably his last statement on his life as an easel painter. The paper relates that the art of Mexican muralist Diego Rivera reflects the Mexican Civil War and the struggles of World War I; in France for 14 years, Rivera studied the works of Matisse, Paul Gauguin and Paul Cezanne and similar artists.
From the Paper
"Now let us look at the education of the three masters, and Picasso attended many art schools during his childhood as his father taught there. He did not finish his course at any college and left his course in less than a year from the Royal Academy of San Fernando in Madrid. Whereas Picasso was a Spaniard, Henri Matisse was born in France in 1869 at Cateau-Cambresis. His father was a seed merchant and Matisse did not get in touch with art in his early years. He decided to study law and gave up only when he was sick and took up arts as he had started painting during the period of his sickness. After changing colleges he finally enrolled at Ecole des Beaux. Even there he could not complete his course due to differences with the teachers."
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Edward Henry Potthast, 2005.
An examination of the life and works of artist Edward Henry Potthast.
2,258 words (approx. 9.0 pages), 3 sources, APA, $ 69.95
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Abstract
This paper begins with a biography of artist Edward Henry Potthast. The paper then examines three of his paintings: "In the Park," "Children at the Sea Shore," and "Afternoon Fun." These paintings are compared as examples of his varying style. The paper explains that they all have the same theme which are presented in different ways.
From the Paper
"It seems that Potthast was trying to convey this message when he painted so many pictures with happy, joyful, and carefree themes. It is likely that he felt this way, likely that he wanted others to feel this way, and also very likely that he saw in this carefree joy some of the beauty that belongs to humanity. He likely saw how important this beauty and humanity was and therefore wanted to ensure that others were able to see it as well. If they could not capture it for themselves or were not aware of how significant it was, perhaps they would see it in his paintings and find joy in that."
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Baroque Art, 2004.
An analysis of Baroque art, including a comparison between Peter Paul Rubens and Caravaggio.
1,131 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper discusses the Baroque style of art that came about following the Renaissance period. The paper examines the artistic styles that made this period so unique. The paper introduces one of the most talented and gifted painters in Italy during this time, Michelangelo de Meris, also known as Caravaggio. The paper describes one of his most famous paintings, "The Madonna of Loreto" that reveals the true nature of the Baroque period. The paper also discusses the brilliant Flemish master Peter Paul Rubens who shared with his counterparts in Italy the desire to develop and spread the Baroque style.
Outline
Introduction
Caravaggio
The Madonna of Loreto
Peter Paul Rubens
The Journey of Marie de Medici
Helen Fourment and Her Children
From the Paper
"The artistic period known as the Renaissance continued without any sharp stylistic changes well into the 17th and 18th centuries; however, the art of this later period is often called Baroque, although there is no single Baroque style or set of stylistic ideals. Yet within the last one hundred years or so, Baroque has taken on the overall designation for the art of the period from circa 1600 to 1750. More recently, scholars have come to understand that Baroque styles were very different from those linked to the Renaissance. For example, during the Renaissance, art tended to be rather static, but during the Baroque, art became very dynamic and encompassed passion, opulence, a taste for the theatrical and introduced the virtuoso, being an artist that stood out from his contemporaries as a truly gifted genius."
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Artist Vassily Kandinsky (1866-1944), 2005.
This paper discusses Vassily Kandinsky, a Russian-born painter, who contributed greatly to German Expressionism.
995 words (approx. 4.0 pages), 7 sources, MLA, $ 35.95
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Abstract
This paper explains that Vassily Kandinsky's work is often chaotic and formless; however, they are somehow pleasing to the eye as seen in paintings such as "Landscape Near Murnau with Locomotive" (1909), "Black Lines No. 189" (1913) and "Little Pleasures" (1913). The author points out that Kandinsky believed the purpose of painting was to prepare people to think and see in terms of immaterial form rather than perceived objects like apples and nudes. The paper concludes that Vassily Kandinsky, the founder of abstract expressionism, was unique in his successful endeavors to juxtapose color, light, landscape, music, spirituality, nature and other essences of life into his artistic works.
Table of Contents
Introduction and Thesis Statement
Personal Feelings about Kandinsky's work
Biography of Kandinsky
Kandinsky's German Expressionism
The Blau Reiter (Blue Rider) Movement
The Influence of Theosophy on Kandinsky
Kandinsky's Color Theory
Conclusion
From the Paper
"Typically, German Expressionists depicted aspects of real life as they saw it, not just abstraction and spirituality. Also, they painted not so much within a vacuum of pure art but rather to artistically express diverse influences on art and life of nature, spirituality, music, architecture and sculpture. Within that spirit, Kandinsky and Franz Marc co-founded the Blue Rider (Blaue Reiter) movement (1911-14), and along with it, their Blaue Reiter Almanac (1911) and a Blaue Reiter Exhibition (1912), all so-named because of Kandinsky's fondness for two canvases he painted years earlier."
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Cubist Ideas and the Modernist Arts, 2005.
A look at the link between cubist and modernist art.
1,214 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
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Abstract
The cubist art work has certain attributes which define its construction and conception. These ideas, clustering around these works of art, were applied to other art forms with varying results. This paper explores how these new and original ideas about cubism manifested themselves in the productions of art in other genres.
From the Paper
"The Cubist style must be viewed as an extension of the anti-Romanic, anti-Impressionistic mood expressed by progressive artists in many creative genres in the fin de siecle period and later. As Cocteau wrote in his "Le Coq et l'Arlequin," the artists were sickened "by the vague, the melting, the superfluous"(82). It had its most intensely creative period between roughly 1908 and beginning of the First World War. The most important center for this "reaction" in all of the arts was Paris. Picasso and Braque are generally seen as the seminal artists in this new form called Cubism. They were interested in getting beyond what they saw as the limiting concept of perspective, which the artistic tradition had inherited from the Renaissance."
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History of Art, 2004.
An analysis of the art history of the Western world.
1,268 words (approx. 5.1 pages), 3 sources, MLA, $ 43.95
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Abstract
This paper discusses the history of High Renaissance art work. The paper examines several pieces of art by artists of the period, such as Raphael, Da Vinci and Michelangelo. The paper explores the popular theme of Madonnas that has come to specifically refer to work that depicts the Virgin Mother Mary. The paper explains that Biblical subjects, such as the Madonna, were very important to Renaissance painters and other artists. The paper contends that other subjects of importance were the Holy Family and the Passion of the Christ. The paper illustrates the use of these themes in the art work discussed.
From the Paper
"During his Florentine years, Raphael painted many numbers of Madonnas. Leonardo did at least forty variations on the theme of the Virgin mother with her child. In his paintings, the Madonna is seen as both extremely human and motherly, but also very majestic. He additionally utilized the concept of Sprezzatura, which is the idea that a person's expression reflects their inner quality. Leonardo gave his Madonnas a look that was very distant and spiritual, like it was completely separated from the material world. In 1506, he painted his Madonna of the Meadow, which was strongly inspired by the style of Leonardo, specifically in the pyramidal structure of the painting. The setting of this painting, as well as the other Florentine Madonnas, is serene and beautiful, with rolling hills and a beautiful sky. The landscape is actually an idealized Tuscan image. John the Baptist as a child is the third figure which created the pyramid."
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"Mona Lisa", 2005.
A discussion about the secrets behind Leonardo Da Vinci's "Mona Lisa".
1,345 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
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Abstract
Leonardo Da Vinci's "Mona Lisa", also known as "La Giconda", is one of the most well known paintings of the High Renaissance period. This paper explains that part of the reason it has so haunted people is because of Da Vinci's unique ability to capture expressions and facial subtleties that are lost in works by other artists. The paper discusses the theories behind the reasons for Mona Lisa's smile and other theories about who the model herself was.
From the Paper
" The most widely recognized theory as to who the model for this painting was is the wife of Francesco del Gicondo. She is dressed in the modern fashion of De Vinci's time, in Florence. She is seated against a mountain-covered landscape. According to some historical accounts, the young woman that posed was actually named Mona Lisa, and she married the well-known Giocondo in 1495, and Leonardo himself was so in love with the portrait he carried it with him for years."
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Lorna Simpson, 2004.
An analysis of the works of photographer, Lorna Simpson.
1,049 words (approx. 4.2 pages), 7 sources, MLA, $ 36.95
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Abstract
This paper discusses the works of photographer, Lorna Simpson. The paper compares her to Dorothea Lange of the 1930s, who used photography to document the disastrous conditions for Americans confronted with the Dust Bowl in the West. The paper explains that Lange's images demonstrated the urgent need for government programs to assist these disadvantaged people. The paper highlights the parallel with Lorna Simpson's modern-day photographs that do the same: Document the American blacks and demonstrate their personal societal needs. The paper describes how this Brooklyn-born artist uses black-and-white images to portray the situation of present-day American blacks so that uninformed viewers can better understand these individuals' perception of the world.
From the Paper
"In the 1930s, Dorothea Lange used photography to document the disastrous conditions for Americans confronted with the Dust Bowl in the West. The images demonstrated the urgent need for government programs to assist these disadvantaged people. The photographs told the entire story. Today, Lorna Simpson's photographs do the same: document the American blacks and demonstrate their personal societal needs. This Brooklyn-born artist uses black-and-white images to portray the situation of present-day American blacks so uninformed viewers can better understand these individuals perception of the world. "
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John La Farge, 2005.
A look at the unique artistic style of John La Farge.
2,310 words (approx. 9.2 pages), 7 sources, MLA, $ 71.95
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Abstract
A brief examination of the art work of John La Farge, who was considered "the most innovative and versatile American artists of the nineteenth century". The paper explains the impact that Japanese art works and Buddhism had on La Farge's style.
From the Paper
"The Japanese culture and art began to influence him in the late 1850s and 1860s, as he married Margaret Perry, niece of the Commodore who had opened Japan to Western civilization and trade. By the time he married her in 1860, he had already begun collecting Japanese art, including prints and watercolors.
As a revolutionary artist, he began to include Japanese artistic ideas in his own works, which may have led to a certain confusion by Western standards of the time. Nevertheless, he made use of Japanese ideas in his work and attempted to make Japanese art and style known to the Western world with his essay on Japanese art, written in 1869. In his essay, John La Farge's describes many of the traditional perspectives of Japanese art, including "the asymmetrical compositions, high horizons, and clear, heightened color of Japanese prints" . Later on, he would be able to see for himself the characteristics of Japanese painting and relate to it with his "An Artist's Letters from Japan", written in 1897 on the occasion of his trip to Japan. "
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Thomas Gainsborough, 2004.
An analysis of the life and works of artist Thomas Gainsborough.
1,367 words (approx. 5.5 pages), 6 sources, MLA, $ 45.95
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Abstract
This paper presents a brief biographical background of the English artist, Thomas Gainsborough. The paper explains that, although Gainsborough was famous for both portraiture and landscapes, he preferred landscape painting and only painted portraits for a living. The paper focuses on Gainsborough's "M/M Paul Governor and daughters Elizabeth and Dorothea" as an example of the realistic and lifelike nature of his portraits.
From the Paper
"The Yale Center for British Art houses some fine examples of period art, including Thomas Gainsborough's M/M Paul Governor and daughters Elizabeth and Dorothea. According to the Yale Center website (http://www.ycba.yale.edu), the center was presented by Paul Mellon, class of 1929 and houses the largest and most comprehensive collection of British art outside of the United Kingdom. This fact alone was the motivating factor for my selecting the Yale Center in New Haven, Connecticut. The collection of British painting and other artistic mediums contributed to an outstanding exhibition that demonstrates what the Elizabethan period epitomized. There are 1900 paintings and over 100 sculpted pieces housed in the collection. The entire collection is reflective of the founder, Paul Mellon's artistic interests and taste."
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"Christ Preaching", 2004.
A discussion of one of Rembrandt's etchings, "Christ Preaching".
1,179 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper presents a brief biographical background of the famous seventeenth century artist, Rembrandt van Rijn. The paper explains that his works are known for being dramatic and devoid of the formality that was common among his contemporaries. The paper focuses on one of his many etchings, "Christ Preaching". The paper examines the materials and techniques used by Rembrandt to make this piece of art.
From the Paper
"The Hundred Guilder Print of Christ Preaching was printed around 1649. It is an etching, printed with drypoint and burin, on Japanese paper. It measures 28.1 cm by 38.9 cm, and it was trimmed just inside the plate line. The actual work produced by Rembrandt was an etched plate made of copper for use in printing, therefore he was able to create many duplicates of his work. There are different printings of this piece still surviving today, and many of them were printed in this style with Japanese paper. The choice of this type of paper enhanced the quality of the piece. Every printing done by Rembrandt was slightly different because he applied the ink to the etching by hand, and pressed the paper in different ways. The choice of the Japanese paper, which is an earth-tone rather than white, helps soften the lines of the piece and create a less stark contrast between the blacks and whites. "
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Nok Terracottas, 2005.
A look at one of the earliest known art forms in Africa, Nok Terracotta.
1,219 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
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Abstract
This paper compares the Nok art from with other African art forms, and identifies specific traits associated with the Nok terracottas. Additionally, the paper discusses the cultural data these sculptures provide about the civilizations that made them.
From the Paper
"Nok terracottas are generally defined by four main characteristics. First, Nok sculptures are created with very distinguishable eye features. The eyes are either triangular in nature, or are a part of a circular form. The eyebrows are sculpted to balance against the lower lip, and often, the eyebrows form a circular pattern around the inset triangular eye frame."
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Roman Portraiture at Aphrodisias.
This paper is a research proposal to study the interpretation of Roman portraiture at Aphrodisias, Turkey.
2,375 words (approx. 9.5 pages), 15 sources, MLA, $ 72.95
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Abstract
This paper explains that the central trajectory of this research is to explore and discuss the differences in views and interpretations of male and female statues and portraiture at the Roman archaeological site of Aphrodisias, Turkey. The author points out that the contemporary perceptions of the actual and intended meaning and interpretation of an ancient work of art may not be the meaning as it was intended at the time. The paper relates perceptions, which will form an important part of the research are (1) the differences between men and women in Late Greek and Roman sculpture, (2) changing attitudes seen in later Greek and Roman society as reflected in their art especially (3) the sense of freedom in emerging democratization and the concomitant sense of individual independence.
Table of Contents
Introduction
Interpretations and Context
Aphrodisias and Gender Portrayal
From the Paper
"Another theoretical area that will be included in the assessment of the artworks is contemporary awareness of "master narratives', as an important aspect affecting the perception of the works. In brief, this refers to an awareness of a more deconstructive assessment and perspective relating to the possibilities of misinterpretation and the overlaying of modern assumptions over the essential meaning of the artworks. Questions that have to be asked in this regard include: is the emotional response to the sculptures or statues determined by our particular historical and cultural milieu; to what extent is it possible to understand Roman sculpture within the framework in which it was created?"
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Salvador Dali, 2005.
A discussion on the changing styles of Salvador Dali.
1,245 words (approx. 5.0 pages), 4 sources, MLA, $ 42.95
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Abstract
This paper looks at how Salvador Dali went through several evolutions in his painting career from Impressionism, Cubism, Surrealism and Classicism in his painting. The author points out that Dali's entire life was a journey towards perfectionism as an artist, which was attained through his technique of the Paranoiac Critical Method, a psychological paradigm through which Dali was able to instill paranoia in himself and use his visions in his painting. The paper describes three paintings: "The Great Masturbator" (1929), "The Invisible Man" (1929-1931) and "Slave Market with Disappearing Head of Voltaire" (1940) .
From the Paper
"This precision is used in "The Great Masturbator" (1929). Part of the revulsion and fear mentioned above lies in sex and the power of the sexual partner to dominate, castrate and kill. "The Great Masturbator" is an example of this. Inspired by his father's books on venereal diseases, the grasshopper over the mouth of the artist represents revulsion and impotence. Impotence, castration and masturbation are the subjects of obsession in this painting. The head of the artist metamorphoses into the body of a woman whose oblivious pleasure indicates sexual self-stimulation and fantasy. The man however remains limp, impervious to the pleasure experienced by the woman. Her presence, coupled with that of the grasshopper, indicates that the artist feels that the only sexual safety is in masturbation."
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