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The Meaning of Art, 2005.
This paper is a personal essay defining the meaning of art as seen in poetry, drama, literature, sculpture, painting music and ancient artifacts.
1,050 words (approx. 4.2 pages), 0 sources, $ 36.95
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Abstract
This paper, which is a personal essay, defines art as a reflection of life conveying experiences in many forms. The author believes that the artist and the audience are essential partners in art because, while it provides the artist a means of expression, it also allows an audience a chance to escape. The paper relates that the artistry of poetry can be seen in what it says and with its form; for example, John Keats wrote lovely poetry that not only said something but also followed a structure, which makes it even more beautiful.
From the Paper
"Some of the representations of art can be seen in literature. For example, no one can mention art, literature, and life without mentioning Shakespeare. Shakespeare's art reflects life in the realistic characters he created. For example, in the character of Hamlet, we see almost every man. Hamlet is a complicated creature who suffers from many struggles. However, the one that truly gets the best of him in the struggle that he experiences internally. Hamlet struggles with himself in a way that almost every human does and many critics consider Hamlet brilliant because he does not resolve any of his problems by the end of the play. This is life. We encounter struggles and problems and many times we do not live to discover a resolution and sometimes we destroy ourselves while seeking a resolution. Hamlet is a work of art because he is so human."
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Buddhist Art, 2005.
This paper establishes a timeline for the period of Buddhist Art and discusses two Buddhist artists and their works.
865 words (approx. 3.5 pages), 5 sources, MLA, $ 30.95
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Abstract
This paper explains that Buddhist Art sprang from the religion Buddhism; dragons, flowers, as well as Buddha himself are portrayed in paintings, statues, shrines, tapestry and many various forms and textures across many centuries of art. The author points out that not much is known about the ancient Buddhist artists, but two 19th century Buddhist artists are Utagawa Hiroshige, born in Tokyo and sometimes known as Ando Tokytaro, and Katsushika Hokusai, a master and genius of the Japanese art of woodblock printing. The paper relates that Buddhist Art continues to influence world art today; Cuiun Matsuda is a modern day Buddhist artist and a Buddhist priest. Chart.
Table of Contents
Statement of Thesis
Introduction
Aniconic Phase (5th Century - 1st Century BCE)
Iconic Phase (1st Century CE to Present)
Ancient Artists
Utagawa Hiroshige (1797-1858) Buddhist Artist
Katsushika Hokusai (1760 - 1849) Buddhist Artist
Conclusion
From the Paper
"Emperor Ashoka of the Mauryan era which was from 322 BCE to 180 BCE is defined by the first clear manifestations of Buddhist art. It was during the first and second centuries BCE that sculptures gained a characteristic of being explicit in representation of Buddha, his life and his teachings. India's representations of the Buddha were the bodhi tree, the footprint, the empty throne, the lions, the columns or the lotus. The lotus was a symbol of purity."
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Wedding Photography, 2004.
An analysis of the changing trends of wedding photography.
5,457 words (approx. 21.8 pages), 18 sources, MLA, $ 133.95
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Abstract
While marriage seems to be exceptionally popular, it is surprising that the primary means of documentation - namely, wedding photography - has received little formal study. To the author's knowledge, no studies exist that indicate the percentage of couples that hire wedding photographers - or in the days before photography, portrait artists. This paper addresses the inception of wedding photography, describes its development and provides a description of recent industry changes including the changes due to digital technology and how other developments have altered the industry.
Outline
Introduction
Inception of Wedding Photography
Traditional Style
Wedding Photojournalism
Black and White Photography
The Artistic Style
Fashion Style
The 35mm Camera Versus the Hasselblad
Digital Photography and the Internet Revolution
The Wedding Album
Conclusion
From the Paper
"Throughout history, the cultural and sacred traditions of marriage have been honored and recorded by most cultures, regardless of religious, political, or geographic differences. It is a relationship that plays an important role in the definition of what a family truly is. Although precise definitions may vary depending on historical era and culture, the concept of marriage typically is a socially sanctioned bond between two people, a bond that unites two people into one ("Marriage", 2004). Given that marriage is universally considered the foundation of family and society, it is not surprising that the documentation of the marriage ceremony and associated celebrations has become an important part of the ritual."
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| Term Paper # 59846 |
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The Danger of Theater, 2004.
An analysis of the danger of theater, according to the ideas of Plato, Artaud, and Boal.
4,106 words (approx. 16.4 pages), 5 sources, MLA, $ 110.95
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Abstract
This paper contends that theater can be dangerous on a variety of levels. The paper presents Plato's main concern, that art distracted otherwise reasonable people from using their reason to rule the other faculties. This concern appears to be a prominent feature in the dangers posed by the theater as expounded by Artaud and Boal. Artaud's theater concentrates mainly on the psychological aspect. It places people in touch with the primitive and instinctive to the detriment of reason. While the advantage here is that repressed emotions are revealed to be examined and possibly healed, it is also possible that a permanently broken psyche may result. The paper discusses Boal's theater, on the other hand, that poses a variety of levels in terms of both danger and healing. There is a psychological aspect that may be seen as similar to Artaud's theater. At the psychological level, Boal also addresses the subconscious in terms of dissatisfaction. In extreme cases, this may lead to a breakdown between the desired state and the state of dissatisfaction. The mental and physical aspects of danger are detailed in the paper.
From the Paper
"The theater is probably the medium of art by means of which the most prominent of social sentiments can be depicted. Furthermore the theater lends itself to a variety of forms, including the highly experimental. One of the most recent evolutions in theater has been including the audience in the setting and theme of the play. Indeed, among the most modern thinkers is Augusto Boal, who takes this paradigm a step further in allowing the audience to actively take part in the creation of the very events within the play. The idea that art in whatever form could pose a danger to society and its way of life originates with Plato, whose main concern was with the art of poetry. Plato's thought was embedded in the politics and social structure of his time. According to him, then, the danger of poetry lay in the fact that it could distract citizens from their duties as citizens in the Republic. The role of poetry during Plato's time then was more or less the same as the role of theater today."
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Renaissance Art, 2005.
An examination of three works of art from the Renaissance era, which contemplate the relationship of God to humanity.
754 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
This paper provides a study of 3 paintings: Sandro Bottecelli's "The Birth of Venus," Jan Van Eyck's "Arnolfini Wedding," and El Greco's "The Spoliation, Christ Stripped of His Garments." It examines how the proper and appropriate relationship of humanity to God and the spiritual realm was one of the most vexing questions of the Renaissance era and how these paintings reflect these ideas.
From the Paper
"The style of Bottecelli's "Birth of Venus" is essentially idealistic regarding the human form showing a Venus rising from the half-shell, with a gauzy web of hair around her. (Webart, 2004) Van Eyck shows a contrasting ordinary couple, filled with the physical accoutrements of marriage around them. Some have seen Van Eyck's work as a parody of middle class aspirations, but it can also be seen as a tribute to the couple, much as "Venus" is a tribute to the personal fascination of the Medici Family with Neo Platonism as a philosophy in art."
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The Sheela-na-gig, 2005.
An overview of the historical heritage concerning the Sheela-na-gig sculptures and carvings in literature.
4,730 words (approx. 18.9 pages), 48 sources, MLA, $ 121.95
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Abstract
The discovery and the cataloging of the distribution and significance of the Sheela-na-gig and other architectural antiquities through the Irish Ordinance Survey place the interpretation of these sculptures and carvings in an exciting but problematic light. The purpose of this paper, which investigates some of the problematics of the origins of the Sheela-na-gig's, is to flesh out the central aspects of the Celtic heritage of these figures and to provide a basis for more in-depth discussion of various aspects. The focus is the historical heritage and the way in which this debate impacts the interpretation of the meaning and significance of the figures.
Outline
Introduction: The Problem of Historical Heritage
Early Discoveries and the Irish Ordinance Survey
George Petrie: Antiquarianism and Cultural Nationalism
The Importance of Petrie's Influence
Fethard and the Kiltinan Sheela-na-gig
Patterns of Interpretation
From the Paper
"The origins and antecedents of the Sheela-na-gig are steeped in antiquity. One prevailing view is that these figures relate to the pre-Christian or Pagan heritage of Europe. There is also general agreement that the statues can be seen as part of the stratified accumulation of religious history, with the Christian religion as the latest strata or overlay of the religious and pagan history of the region. This would also imply that the transition from pagan to Christian was not strict and clearly demarcated, with the result that many pagan figures and symbols were retained within the Christian context. Joan Marler verifies this point."
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Computer Graphics, 2004.
An analysis of the use of computer graphics in the film industry, with a focus on the works of the director, David Fincher.
3,141 words (approx. 12.6 pages), 12 sources, MLA, $ 91.95
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Abstract
This paper discusses the intricacies of computer graphics as used by film director David Fincher. The paper examines the graphic techniques evident in a number of Fincher's films, "Fight Club" and "Panic Room," among others. The paper describes the powerful special effects employed by Fincher in his films, exploring how he demonstrates his expertise with the camera, as well as his directorial talents, in the way in which he uses the camera and specialized computer graphics to go into the minds of the characters to read their thoughts and follow their panicked thought processes.
From the Paper
"David Fincher or, more popularly, Davey Finch, was born in the year 1962 in Denver, USA. He was brought up in California. He started his career in movies by working at first in Industrial Light and Magic, and moved on to creating TV commercials. This provided Fincher with the expertise needed for a successful career in directing movies. He directed movies like Se7en in 1995, Fight Club in 1999, and the more recent Panic Room in 2002. (Biography for David Fincher) The movie 'Fight Club' is a psychological thriller as well as a roaring comedy. The comedy in the movie lies in its attitude towards the usual staples of everyday life of the present day like air travel and the auto industry and so on. The audience is asked to sympathize with the director in his views about the state of life in the world, as seen through his eyes. David Fincher works with screenplay by Jim Uhls in this adaptation of a satirical novel by Chuck Paluhniak. The young man in the movie finds himself in a situation that he does not enjoy in the least. He finds himself doing a job he does not like, staying in a place that he does not like, and finds himself craving for something different, some excitement in his life. (Fight Club) "
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Goddess Flora.
This paper discuss the Roman Goddess, Flora, the goddess of fertility, of whom a statue dating back to the year 14 C.E., stands in the Vatican.
1,150 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper explains that the statue of Flora embodies Roman contradictory attitudes towards female fertility and sexuality; sexuality was desirable for familial propagation, but female liberality in the sexual sphere was something Roman society wished to contain. The author points out that Flora, like most Roman deities, has a counterpart in Greek mythology called Chloris, who was mainly known as the relatively minor wife of the West Wind Zephyr, but Flora, who became much more important than the West Wind in Rome, was not Zephyr's wife, but his consort. The paper relates that the connection between sowing and open sexuality might be why prostitutes adopted Flora's festival as their own because, in an interesting twist, at an agricultural festival meant to honor the flowers, land, soil, and toil of farmers, part of the festival honoring Goddess Flora was held during the night, so prostitution became a more important component of the celebration.
From the Paper
"Flora wears a transparent-like garment that emphasizes and conceals the nudity of her figure in its artful drapes and beckons the gazer in a friendly and alluring way. Her palm turned open, as if making an offering. She wears a garland of flowers in her hair, as is typical of all statues of the goddess Flora. She strikes the viewer as both sensual, yet also motherly, traditional and womanly. She is nude and provocative in the way she extends her grasping hand to the gazer, but not intimidating in her beauty."
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Digital Art, 2004.
An analysis of the relationship between technology and art in the evolution of digital art.
4,739 words (approx. 19.0 pages), 66 sources, MLA, $ 121.95
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Abstract
This paper discusses the evolution of the digital art form that emerged as a combination of technological expertise and traditional artistic vision. The paper contends that the emerging digital technologies are creating new forms and genres of art, which are a result of the interaction between traditional views of art. The study of the collusion and interaction between technical knowledge and artistic imagination and innovation forms the central trajectory of this paper.
From the Paper
"An important aspect to consider in the evolution of digital art is the issue of legitimacy and acceptance. While the acceptance of digital art is far from ubiquitous there is now a strong basis for the recognition of digital art forms. (ibid) However, the hectic pace of technological development has meant that many artists feel inadequate in the face of technology that requires, in many cases, training and a mindset which is oriented towards a technological rather than a traditionally artistic point of view. Connected to this issue is the fact that art theory and aesthetics are struggling to assimilate these new technological methodologies."
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Jackson Pollock, 2005.
An analysis of the work of contemporary artist Jackson Pollock.
854 words (approx. 3.4 pages), 5 sources, MLA, $ 30.95
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Abstract
Jackson Pollack was of the one of the foremost artistic innovators of the 20th century. This paper explains how his style and creative techniques inspired a generation of artists and had a lasting and profound affect on contemporary art. It discusses how his later work is credited with initiating the Abstract Expressionist School of modern art. His style and method of painting was a radical departure from the type of painting that merely represented or "copied" the world and objects that the artist encountered. The writer points out that Pollock developed a technique and approach to painting and produced works of art that were a more subtle and complex expression and response to the world around him and his own psyche.
From the Paper
"Jackson Pollack was born in 1912. He studied at the Art Students League in New York City and was influenced and by the work and of Charles Benton. His early works were similar in many ways to the naturalistic style of Benton. At this early stage of his career he was essentially a representational artist. In other words, his art contained objects and elements that were familiar and recognizable and part of the ordinary world. However, the early half of the Twentieth Century was a time of radical thought and experimentation in modern art and Pollack was influenced by modern experimentation and new trends in art, such as Surrealism and other European art. He began to adopt a more abstract and "expressive" style of painting, as can be seen in works such as The She-Wolf, painted in 1943. (Jackson Pollack .1912-1956) Other works such as Pasiphae and Totem 1, painted in 1944, also show the influence of the Surrealists."
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Delacroix and Monet, 2005.
Comparison of "Liberty Leading the People" by Eugene Delacroix and "Boulevard des Capucines" by Claudet Monet
1,257 words (approx. 5.0 pages), 4 sources, MLA, $ 42.95
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Abstract
The paper discusses two paintings of French artists that refer to different historical periods of art history, to different art styles, and present different themes. The first painting is "Liberty Leading the People" by Eugene Delacroix, a work that glorified the revolution of 1830 in France, and the second is Claudet Monet's "Boulevard des Capucines," which showed the daily life of Paris as a center of art and culture. The first painting refers to French progressive Romanticism, and the second one to Impressionism.
From the Paper
"In 1831 Eugene Delacroix showed his "Liberty Leading the People" in Paris salon, which was dedicated to "three glorious days" of July revolution, 1830 . The power, democratic manner and brave artistic manner of the painting caused shock and admiration of viewers. The painting was quickly returned to Delacroix as government officials were afraid of its revolutionary appeal. It was returned to public in 1855 when it came to Louvers. Inspired by the revolutionary events of 1830, Delacroix decided to reflect his impressions in the painting that would demonstrate the main value of the nation the seek of freedom and democracy. This power is presented in the image of young beautiful woman, who leads the crowd of rise. Her fine image, energy and internal freedom may compare her to Greek goodness of victory Nica . She holds French flag in one hand and a gun in another, Phrygian cap on her head is an ancient symbol of emancipation from slavery. In order to outline her leading image, Delacroix pictured her in the center and made her imaged the lithest in the composition. She is like the source of light, which lights the thirst of freedom in the crowd. The boy, which stands next to the young woman is full of enthusiasm and in his seek for freedom he even forestalls the woman. Realism of the painting is defined by the expressiveness of people, their firm faces and their motion. Because people are shown in motion, the painting looks more realistic and impressive."
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Netherlandish Art.
This paper applies Roland Barthes's theorizing of word-image relations and the operation of systems of signs to Netherlandish art.
1,815 words (approx. 7.3 pages), 7 sources, MLA, $ 58.95
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Abstract
This paper explains that Roland Barthes relates that the knowledge a viewer needs to understand the meaning of the image is bound up with perception and association, intangible and fluid cultural products, rather than with the stable carriers of meaning that constitute language. The author explores two Netherlandish paintings using this theory: "Still Life with Fruits and Flowers" by Balthasar van der Ast (late 1620s), which is in the Norton Simon Museum, Pasadena, California, and "Banquet Still Life" by Abraham van Beyeren (1667), which is in the Los Angeles County Museum of Art, Los Angeles, California. The paper concludes that these still life paintings immediately present the viewer with two layers of potential meaning: The decorative and the symbolic, with the latter very often embodying religious messages.
From the Paper
"Van der Ast's painting has as its focal point a large shallow bowl filled with fruit, partially encircled by a ring of fruit, shells, insects and other objects, while on the left of the picture is a glass jar containing flowers. Flowers and fruit possessed a particularly wide range of significance, as well as being regarded as attractive objects in their own right, and accordingly they are often found in still life paintings of this period. On an aesthetic level the image is an appealing one, with a balanced but lively composition, depicting attractive objects, and providing the eye with a variety of textures and colours. This aesthetic level of appeal is itself a carrier of meanings - that such an image, of such content, was seen as appealing in the society of its time itself tells us something about the symbolic as well as the directly artistic nature of this image. It is a painting of goods rather than people, produced in a commercial society, and as Richard Leppert has observed, "still life's attention to goods - possessions, things one could 'have' and by having in part define oneself -guaranteed its popularity with and significance for an audience of principally rich buyers". The nature of this type of art, the "time-consuming, meticulous work" that such elaborate pictures demanded, was expensive and thus in itself symbolized wealth. The physical nature and appearance of the painting is thus tied to the layers of meaning that can be excavated below its surface."
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Photographer Alfred Stieglitz.
This paper discusses the life and work of Alfred Stieglitz, whose body of work extends from the 1880s until 1937, when he officially retired.
990 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper explains that Alfred Stieglitz, born in 1864, taught his generation that photography truly could be used not just as a historical curio, but also as an art form. The author points out that Stieglitz increasingly explored the boundaries of photography. His later development is best traced in the many portraits in which he demonstrated that it was not enough to photograph a subject; one must use the photograph to capture something that might otherwise be ignored. The paper relates that Stieglitz's focus on photographing New York City helped to archive an era when the city was changing, just as his portraits showed the changes in his society's view of individualism.
From the Paper
"As a patron of the arts, Steiglitz played an important role. Most of the recent exhibitions or explorations of his work, such as the documentary "The Eloquent Eye" or the shows at the Wadsworth Atheneum or the Boston Museum of Fine Arts, display his work along side those of his wife (the painter Georgia O'Keefe) and many proteges. "The current show focuses on Alfred Stieglitz as one of America's most important modernist photographers, and explores the considerable influence his work had on the American modernists he so passionately supported, exhibited, and promoted at his New York gallery,'291'."
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Josiah Wedgwood, 2005.
A look at the history of Wedgwood pottery and its designer, Josiah Wedgwood.
873 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
This paper offers a brief examination of the history of Wedgwood pottery and the man who started the product, Josiah Wedgwood. Discusses the most famous products and why they were best-sellers.
From the Paper
"In addition to the wildly successful Cream Ware, or "Queen's Ware" as it became known, Wedgwood would also produce two other innovations that would set its success in stone. These were Black Basalt a fine black porcelain, and Jasper. Specifically, with the Black Basalt, Wedgwood could turn out tremendous product to meet the new "neoclassic" tastes of fashionable society-and with the innovative Jasper Ware; amazingly successful due to its durability yet delicacy combined with heretofore unachieved purity of color."
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"The Market Street Railway" Mural, 2005.
Analysis of Mona Caron's mural depicting Market Street in the city of San Francisco.
1,762 words (approx. 7.0 pages), 5 sources, APA, $ 56.95
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Abstract
This paper describes Mona Caron's mural, "The Market Street Railway," and how the scenes in the mural represent the historical, cultural, and communal aspects of San Francisco.
From the Paper
"The art of mural painting is one of the oldest and most primal art forms known to humans. Since the earliest days of cave painting, artists and scribes have found a particular attraction to this medium. The wall provides an open space that can be filled with beauty and information. Some of the greatest artists recognized today utilized the mural medium, such as Picasso and Michaelangelo. These artists also created public art, or art that is displayed in a public place for the free enjoyment of the people. Artists have an instinctual urge to express their tribal, or cultural, identity through their work, and this can be seen in ancient cave paintings as well as modern wall paintings. The murals of San Francisco are an expression of the culture and history of America. One Bay Area muralist, Mona Caron, brings a particular flair to the multicultural representation of the art of being Californian. A prolific muralist and illustrator, Caron beautifies the city with public works of art in her signature representational style. The Market Street Railway Mural is a particularly historical and multicultural piece, portraying not just one perspective on Market Street, but many historical samples of life in San Francisco. "This mural has won a 2004 San Francisco Beautification Award from San Francisco Beautiful. Additionally, it was awarded a Certificate of Honor by the San Francisco Board of Supervisors, as well as a California Legislature Assembly Certificate of Recognition. It also received an SF Bay Guardian's 2004 'Best Of The Bay' award." (Caron, 2004) This remarkable piece is technically brilliant, historically rich, an expression of the artist herself, and and inspiration to the community."
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Beauty of Art, 2005.
A brief discussion about how beauty is in the eye of the beholder, especially in relation to art.
854 words (approx. 3.4 pages), 4 sources, MLA, $ 30.95
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Abstract
This paper is a short discussion about the beauty of art and the abstract nature of beauty of art. Also looks at the history of art appreciation.
From the Paper
"Art is both perceptual and psychological, thus the "power of aesthetic perception is the interaction between the object and the beholder" (Chang Pp). Art creates emotion and so creates response. "The experimental aesthetic value of even the most successful art pieces is relative with changes in time and conditions of the society in which it resides" (Chang Pp). Because art is psychological, it involves both the conscious and unconscious processes of the beholder (Chang pp). This awareness and receptivity of a piece of art is referred to as the sensitivity of the beholder (Chang Pp). Art represents the past realities, as well as functioning as a predictor of societal evolution (Chang Pp)."
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Oriental Influence on Western Fashion.
This paper discusses the history of oriental fashion and its influence on Western fashion.
5,210 words (approx. 20.8 pages), 29 sources, MLA, $ 129.95
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Abstract
This paper explains that clothing is rarely recognized as a political force; yet fashion and design may be one of the most internationally regarded forms of trade, communication, and influence among countries worldwide. The author points out that the Orient has been a wellspring of fashion influence for both the Eastern and Western world since ancient times; the Edo period in Japan was the beginning of several Japanese styles that remain popularized by Western culture fashions for centuries, including the "Kamishimo," worn by both males and females of the Samurai warrior class during special occasions featured stiff shoulder garments that crossed the shoulders and chest, elements vital to the Samurai image held by Hollywood and other popular culture creations in the West today. The paper relates that today very young Japanese girls, as seen in exported Japanese movies, manga comic books, and anime television, are setting global fashion trends, including miniskirts, short pants flared out at the bottom, and loose, baggy socks deliberately allowed to lap over the tops of their shoes.
From the Paper
"Fashion evolves as quickly as any other fast-paced element of society, never becoming stagnant. Some people are critical of the movement and growth of the industry, claiming it encourages people to become materialistic, rushing at every opportunity to spend more and more money on unnecessary items. However, this change and growth is precisely what makes fashion a true form of human expression. Diversity, experimentation, expression, and metamorphosis are what define human culture and fashion culture. As cultures touch, fashions exchange and spread. The in-look for the young rebels is eventually passed on to the older generations. The styles of one region are sent to another. "Young people, enjoy the diversity that changing fashion can apparently provide, seeing the constant change as a way to satisfy their desire to experience 'new' and 'interesting' things. Note too though that fashion can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of Mainland China." "
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Vassily Kandinsky, 2005.
A look at why Vassily Kandinsky qualifies as a leading figure of the German Expressionist movement.
1,373 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper explains why the author believes that artist Vassily Kandinsky, despite being Russian by birth and nationality, deserves to be considered a true German Expressionist.
From the Paper
"Kandinsky lived and painted in Munich at a time when German society, and in fact the world, was greatly changing, during the run-up to World War I. Even before that war, German Expressionist painters had endeavored, based on their new theories of painting, which sought to capture within art, elements of real life, as well as abstractness and spirituality , to now paint not so much within a vacuum of pure art, but rather, to instead artistically express (by allowing their essences to flow, from within the artist, onto a canvas) influences derived from nature; music; architecture; sculpture, and from spirituality and philosophy, within their art as well. As Kandinsky's fellow German Expressionist Karl Jakob Hirsch stated: 'This is the beginning! In our hearts we were ready to throw everything away-the old fashioned ideas, the junk!' "
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