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Baroque Art, 2002.
A study of the true definition of Baroque Art.
785 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
This paper explores the two major modes of Baroque art, which are allied respectively with the Catholic and Protestant churches. It defines the art of this period as having a general sense of vitality and an emphasis on creating the illusion of movement. The paper explores the Baroque painting, sculpture and architecture, including the works of Rembrandt, Velasquez and Bernini.
From the Paper
"Unless we are scholars of art history we may have a somewhat distorted view of what constitutes Baroque art, for the term is often used in common parlance to mean any artistic or decorative object that is overly ornate and adorned with as many fripperies as it can hold. However, the term has actually a very precise definition, which this paper takes up as it explores the two major modes of Baroque art, which were allied respectively with the Catholic and Protestant churches."
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Native American Imagery, 2002.
An exploration of the creation of Native American imagery by nineteenth century artists, Edward Sheriff Curtis and George Catlin.
2,181 words (approx. 8.7 pages), 15 sources, APA, $ 68.95
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Abstract
The ?American? public has always had an interest in the lives of Native Americans. During the early 1800, this curiosity blossomed in a fascination. The paper shows that unfortunately, most Americans were content to relegate all Native Americans into this caricature of the "noble savage", dehumanizing them, and few settlers sought to understand the culture of the Natives whose land they were occupying. Fortunately two nineteenth century artists, Edward Sheriff Curtis and George Catlin did not share the same view. This paper discusses how these men dedicated their lives to the study and preservation of Native American tribal culture for posterity by creating imagery based on the Native American people. Although their methodology, content, and style were dissimilar, (Curtis used the camera and Catlin worked with oil paint), their goal was the same, to capture and record the essence of America?s indigenous people through art.
From the Paper
"Countless numbers around the globe have benefited from the information gathered during the 1800?s by Edward S. Curtis and George Catlin.
Without these records many of the customs and heritage that we know of as ?Native American? might be lost today.
It is easy to be critical of Catlin?s paintings when judging it against the realism of Curtis? photographs, but the goals of the two men were the same. The sincerity, accuracy, and honesty of the collections that were compiled by the ethnographists transcend their work from the category of mere art to the palate of life."
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Eugene Delacroix, 2002.
An analysis of the artist Eugene Delacroix's personal journal and its reflection on his art.
1,203 words (approx. 4.8 pages), 5 sources, APA, $ 41.95
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Abstract
This paper discusses artist Eugene Delacroix's journal, illustrating the aspects of the journal that contribute to his work. The paper discusses the works, the journal entries and what type of personality the journal seems to portray for the painter. The paper portrays how Delacroix's words in the journal give insight as to how his art reflected who he was and provides the world with an understanding of how the art is the artist.
From the Paper
"Throughout history it has been believed that artists place a bit of themselves into each work of art they produce. One classic artist, Eugene Delacroix provided the world with a tool by which to measure that assumption. Delacroix wrote his thoughts, feelings and soul into a journal that has since been translated for the world to read. His words in the journal give insight as to how his art reflected who he was and provides the world with an understanding of how the art is the artist."
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Botticelli, 2002.
A study of the Italian Renaissance painter Botticelli.
1,875 words (approx. 7.5 pages), 7 sources, MLA, $ 59.95
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Abstract
This paper examines the life and paintings of Sandro Botticelli. It portrays the life of the great Italian Renaissance artist who created the masterpiece "Birth of Venus". The paper analyzes this piece of art and provides its critical reviews throughout time. The author illustrates the intellectual environment of the artist's time, including paganism, theology, and the classical world.
From the Paper
"One of the most important artists to emerge from the early Renaissance and late medieval period in Florence, Italy was Sandro Botticelli. The Renaissance period in Italy and particular in Florence marked an era where for the first time there was a flowering of interest in the pagan, classical era of early Greece and Rome. Botticelli's "Birth of Venus" and "Primavera" paintings emerged quite early from this growing syncretism of medieval and classical interests. They were to become emblematic of a new period of interest in the human form and the human condition, as it might be expressed outside of the narrative constraints of Biblical and iconic art. However, as documented quite poignantly in The Bullfinch Guide to Art History, with the emergence of the High Renaissance style of specific, quite anatomically accurate art at the turn of the 16th century, this artist fell out of fashion. He died in obscurity and was ?only returned to his position as one of the best-loved quattrocento painters through the interest of Ruskin and the Pre-Raphaelites.? (West The Bullfinch Guide to Art History)"
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Native American Art Review, 2002.
This paper analyzes the art review of a Native American art exhibit at the American Craft Museum.
982 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper discusses ?Changing Hands?, an art review of a major Native American art exhibit at the American Craft Museum by critic David Revere McFadden. It opens with an overview of the exhibit itself and its highlights. The review, and the critic?s ?authority? to report on the exhibit are then discussed. Finally, there is a commentary of the effect the critic?s piece has upon one?s desire to view the exhibit.
From the Paper
"Changing Hands, the exhibit features several art forms of Native America. The artists who have displayed their work have given examples of both traditional and more contemporary pieces ? for example a reconstructed earthenware vessel of the type that might have been used centuries ago for water or other liquids. The several art forms shown by the Changing Hands exhibit include wool rug and vegetable dye; gold bracelet work inlaid with larimar, lapis lazuli,sugulited, shell, coral, obsidian and opal; earthenware sculpture; an acrylic collage on wood; glass and copper vase; cottonwood root sculpture; leather beltwork of silver, coral, turquoise, and serpentine; coral necklace with gold and pearls; pendants of gold, wood, silver, coral, turquoise, opal, shell, and lapis lazuli; earthenware canteens and jugs; hinged silver buckles; earthenware tiles of sand, copper, and oil on a wooden panel; sand media on wood."
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Raphael's "The Small Cowper Madonna" and Angelico's "Madonna and Child", 2002.
This paper analyzes the two paintings, comparing and contrasting the two from an art/history perspective.
1,030 words (approx. 4.1 pages), 0 sources, $ 36.95
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Abstract
The paper compares and contrasts these two Renaissance interpretations of the Madonna and Child. It looks at the differing stylistic elements and discusses why the paintings are significant works of art for their timeframe. The attempt to blend the real world with the spiritual is explored and the painters? different techniques in their quest to achieve that blending are studied. The paper concludes with a concise summary of the similarities and the differences between these two paintings.
From the Paper
"Raphael spent several years in Florence where he produced seventeen images of the Virgin Mary and Child. During that time, Leonardo da Vinci and Michelangelo were his primary teachers, which would account for his stylistic rendering of the Madonna and Child. The Small Cowper Madonna, which was done in oil on wood and was completed around 1505, reflects the innovations that he learned form his years with Leonardo. He mirrored the Florentine method of painting that concentrated on intimacy and simplicity of the setting."
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Feminist Art, 2002.
A study of the evolution of feminist art.
2,165 words (approx. 8.7 pages), 10 sources, APA, $ 67.95
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Abstract
This paper examines the political origins of feminist art in the 1960's and addresses the social climate that brought on the birth of the art movement. It describes the divisive nature of the feminist versus universal art debate. The paper argues that the civil rights movement in companion with feminist art has ceased to be a ?movement?. In addition, the paper describes art works of well know female artists of this era.
From the Paper
"Feminist art as a named movement evolved in the context of the late 1960?s early 1970?s political climate. The movement contextually cannot be separated from larger civil rights movements and specifically those relating to women; like the sexual revolution, the women?s liberation movement, and the formation and growth of groups like the National Organization for Women. Strictly speaking there can be no real separation of the feminist art movement from the civil rights movements in its context because so much of art of the era acted as the voice and vision of the messages of the movements as a whole. Though there are of coarse exceptions to this rule, art as a whole during this period was a demonstrative agent for social change and feminist art is definitely included in that context."
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Ndebele Mural Art, 2002.
A study of the colorful artwork produced by the Ndebele ethnic group of Southern Africa.
1,775 words (approx. 7.1 pages), 2 sources, APA, $ 57.95
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Abstract
This paper explores the art work produced on houses and clothes by the Ndebele, a broad range of ethnic groups found across Zimbabwe and the Transvaal Province of South Africa. These groups are also noted for their colorful wall paintings and the way that their costumes use the same motifs, showing a connection between their dress and their homes that extends back into their history. The paper describes a typical Ndebele home, with emphasis on the way it is decorated, materials used and the use of color and patterns. It examines the symbolism of specific shapes. The paper also examines the influence of Western imagery on Ndebele art.
From the Paper
"These designs, however, apparently do not symbolize cosmological or religious concepts. There is also no apparent symbolism to the color used. The beadwork that is made by Ndebele culture is another matter for it is seen as an expression of individual or social identity. Geometrically patterned beadwork is typical of Nguni culture but is unique in Ndebele culture in the extent to which it is used on clothing. Beadwork displays social status by the number and quality of beads used. Age is also communicated, as can be initiate and marital status. The engaged girl spends much time making beaded waist rings for the women in the family and in the family of her betrothed. Beadwork also denotes newly initiated young men, who wear heavy waist and arm rings and other beaded ornaments produced by their mothers during their initiation period (4)."
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Art History, 2002.
A discussion of the philosophy of history of art.
1,220 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
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Abstract
The paper examines how humankind has always had an inherent need for expression and this need has been fulfilled through various media such as art, literature, poetry and music. It looks at how the field of art has always been a fascinating form of human expression in that it blends aesthetics with the artist?s comment or interpretation of culture, history, politics and other aspects of society. It describes how art historians study art from two primary angles: the quality of artistic rendition and the historical reflection of the artist?s time. It evaluates the theories of some famous philosophers such as Plato, Aristotle and Kant on how an art historian needs to develop objectivity in interpreting the life and times of the work being studied and the artist?s own intended expression.
From the Paper
"Another epistemological assumption underlying art is that it necessarily has to be concerned with producing something of beauty, as defined by social standards. This is a natural fall out of the underlying theory that knowledge of vision, coded to recognize aesthetics and beauty, is necessary to appreciate art. An opposing philosophy exists wherein great art critics like ?John Ruskin, Herbert Read, Morris Collis and Eric Newton would judge art from a wider angle?. Any object may be called beautiful?feelings which one obtained in the aesthetic contemplation of it are pleasurable feelings? (Ijele Web site). This is in line with Kant?s Critique of Pure Reason, where he dealt with aesthetics as if it only has to do with perception."
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Five Portraits, 2002.
A review of five different paintings of women by five different artists.
2,290 words (approx. 9.2 pages), 4 sources, MLA, $ 70.95
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Abstract
This paper analyzes five different portraits - ? Manet?s ?Olympia?, Goya?s ?The Naked Maja?, Titian?s ?Venus of Urbino?, Velazquez?s ?The Toilet of Venus? and Giorgione?s ?Sleeping Venus?. It discusses how these five portraits collectively present us with a sense of how art shifted from the beginning of the Renaissance and thus the beginning of Modernist sensibility through the rise of the industrialized world into late modernism. However, while nearly everything changed in the world and in the world of art, the position of women in society and so the position of women on canvases changed very little over the course of these centuries.
From the Paper
"Titian was perhaps the greatest colorist of the Renaissance, and by the time that he died in Venice in 1576 his use of color and the way that he blended it with form had forever changed the course of European painting. He most important contribution to European painting, as Huse (1993) argues, is that his works created a visual alternative to the sculptural and highly linear Florentine tradition that had been brought to prominence by both Michelangelo and Raphael ? and that during their own tenure seemed the only possible way in which to interpret the world."
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Munch and Expressionism, 2002.
A biography of the life and works of the artist Edvard Munch.
2,782 words (approx. 11.1 pages), 4 sources, MLA, $ 83.95
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Abstract
This paper examines the life of the German painter Edvard Munch and his influence on German Expressionism. It analyzes how the death and disease that is so much part of Edvard Munch's art was a natural consequence of the time in which he lived and the painful circumstances of his personal life. It shows how he was able to take this pain and grief and synthesize it into art and revolutionized the way visual arts were perceived. Not satisifed with the range that canvas and oil gave him, Munch turned to more innovative technique in an effort to create art that could be reproduced so he carved wood blocks and working closely with printers developed lithographic techniques that changed the way art is made.
From the Paper
"Like the paintings of the Impressionists -- especially the Post Impressionists -- Munch used tremendously bold strokes and very aggressively attacked the canvas, often scratching and etching the dry paint and applying layer after layer of thick paint in unnatural colors. Filmmaker Peter Watkins in a docu-drama film on the life of Munch does an amazing job of catching this process on film. (Watkins online) The often-sickly Munch, attacked the canvas with the same sort of physical intensity as the more robust Gaugain but of course for different effect."
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The Futurist Movement, 2002.
A paper which examines the art of the Futurist Movement which originated at the end of the nineteenth century.
1,860 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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Abstract
The paper discusses the origins of the Futurist Movement whose art-work reflected the energy and the changes of the late nineteenth/early twentieth century. It shows how Norwegian Impressionist artist, Edvard Munch's "The Scream" - which relayed a message of total dread and horror that comes from trying to realize the preciousness of life in a world of carnage - laid the groundwork for the movement's message. The paper examines the work of others who identified with this movement, such as writer Filippo Marinetti and artist Marcel Duchamp. The paper also touches on the Dadaism movement which orginated from refugees from WWI Germany and explores the works of several Dadaists, such as artist Jean Arp and historian Hans Richter.
From the Paper
"While Dadaism had movements all over the world, it was birthed from refugees of World War I in Zurich. The dehumanizing impact of the industrial age moved into the realm of the absurd during the Great War. No one in Germany escaped the horror of that bloody war unscathed. It was like a self-inflicted plague, not altogether unlike tuberculosis or any other disease, only making less sense. During that war was the first time that the modern implements of fighting came into use on the battlefield, and the soldier in the trenches achieved a new level of insignificance. They became canon fodder, with death often time coming from hidden mines, distant snipers, from big guns and airplanes that could only be heard and not seen. The carnage of the war and the desperation that followed clearly marked the souls of these artists. Painting landscapes made no sense in that context."
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?Coney Island?, 2002.
A review paper on the photo-essay book, "Coney Island" by Harvey Stein.
906 words (approx. 3.6 pages), 1 source, $ 32.95
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Abstract
This paper explores the way in which American photographer, Harvey Stein, portrays New York City's kitschy escape destination in his photo-essay book "Coney Island". The paper discusses how Stein uses color and subjects to put together a book which so successfully reflects the feel and atmosphere of Coney Island.
From the Paper
"Instead of giving Stein credit for continuing to grow rather than fall trap to a particular style, his critics lament his progress much the same as we lament all progress and our own aging and growth away from the things we found so magical in our youth.
But Stein is a photojournalist and the story changes with the times. Stein doesn't seem interested in the story behind the scenes, but rather in that which presents itself now in the pure, raw immediacy of the moment."
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Witkin: Freak Show or Beauty?, 2002.
This paper explores the work of photographer Joel-Peter Witkin.
1,380 words (approx. 5.5 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper explores the concept of beauty in Witkin?s photography. It looks at the techniques he uses to create pictures like paintings. It discusses some early childhood influences on his work and the difficulty of classifying him as any particular type of photographer. It studies the relationship between his work and glass (the properties of glass) and analyzes his picture entitled ?Glassman?. Next, the paper moves on to another work of Witkin?s, entitled ?Waiting for De Chirico?, discussing its comment on surrealism and use of foreground, middle-ground and background. The paper then moves on to an analysis of Witkin?s ?Daphne and Appollo?, exploring its message about love. The paper concludes by highlighting the commonalities between the three above-mentioned paintings.
From the Paper
"While Joel-Peter Witkin may well be a virtuoso technician pushing the envelope with his creative skills, it is seldom his technique that causes people to stop and stare at his work, as well as very frequently stop people from looking at his work altogether. To call him the master of the macabre is to think of him as a storyteller in the fashion of Poe. However, unlike Poe, he is no romantic; he is not interested in ironic twists but rather presents himself as a reporter on the human condition, and on the bubbling unconscious of humans trapped in this world of so many contradictions."
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"Mao" by Andy Warhol, 2002.
This paper introduces and analyzes the painting "Mao" by artist Andy Warhol.
605 words (approx. 2.4 pages), 1 source, $ 21.95
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Abstract
This paper discusses the painting, "Mao", acrylic and silkscreen ink on canvas, that Andy Warhol painted in 1973 at the height of Mao's power in China. The author states that this painting is more realistic than many other Warhol paintings, but it is clearly his "style". The author believes that this painting is very interesting because of the two different mediums used and all the hidden meanings that seem to be buried in the colors and shapes.
From the Paper
"The painting is over 15 feet high, and so Mao looks down at the viewers as if he is looking over a group of children. Mao's face is not what you would expect, except from someone like Warhol. The face is done in bright oranges and yellows, to show his Asian ancestry, but even more, to make him look vibrant and alive. Warhol has also given him bright red cheeks and lips, so much so that he looks like a woman wearing a lot of make-up, especially blush and bright lipstick. There is blue eye shadow over his eyes to enhance the look of make-up, too."
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The Artist Gauguin, 2002.
A biography of the life and works of the artist Eugene Henri Paul Gauguin: Man, Nature, Ubermensch and God.
3,591 words (approx. 14.4 pages), 7 sources, MLA, $ 100.95
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Abstract
This paper discusses how Post-Impressionist artists were interested in the ideas of Friedrich Nietzsche, particularly in his concept of the Ubermensch, a superman who would be capable through intense struggle of surmounting the lower forces that would limit his ability to achieve. and how the idea that man could evolve beyond his present capacities influenced the relationship of European man to previous cultures and to contemporary but less ?civilized? societies. It explores the ways in which Paul Gauguin applied the Ubermensch concept to his art and to his life and examines parallel motifs in the oeuvres of his contemporaries. It details his life from his birth 1848 through his initial career as a stockbroker and his influence by Impressionist art.
From the Paper
"The most enigmatic of his self-portraits is one of his 1889 ones, his now familiar features reduced almost to a caricature. His powerful body, hawk-like nose, slanted eyes and high cheekbones give him the appearance of a Mongol conqueror, and the gorgeous reds and golds of the paints create an exotic atmosphere. Two apples dangle over his shoulder, and a sinuous serpent meanders across his chest. Over his head, a halo hovers. He is now a Magus, a powerful supernatural being with divine powers ? the realization of the full potential of the ubermensch. Inasmuch as he will be dead in 1901, it may well be that his syphilis had progressed by 1889 to an extent that he was delusional. Certainly the ego and the violent personality that had been developing in Tahiti and later in Atuana reached their culmination in a belief in self that seems excessive, even for an artistic personality."
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Claude Monet, 2002.
A study of the art of French Impressionist painter Claude Monet.
1,400 words (approx. 5.6 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper introduces the renowned 19th century French painter Claude Monet. It discusses his life and examines one of his works in detail. The paper argues that Monet is unquestioningly the father of impressionism, and paved the way for the abstract expressionism. The author states that Monet?s painting techniques rejected the standard art of time and came to influence painters today.
From the Paper
"Since childhood he displayed the geniuses of an artist when he produced some of his marvelous caricatures and supplied to an art store at the age of sixteen (Monet French). This is where he met Boudin who saw in him the germs of an emerging artist and convinced Monet to step out in the world to prove his ability to paint. In 1860 Monet came across Pissarro at the Acad?mie Suisse in Paris (Monet French). Monet?s love of art and painting faced many challenges and his career as a full-fledged artist saw many hardships (Monet French). "
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The Kroisos, 2002.
A review of the Kroisos, one of the earliest figurative sculptures of the archaic Greek period.
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
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Abstract
This paper discusses The Kroisos, from Anavysos, Greece whose composition is dated before or around 530 BCE. This dating locates the Kroisos period of composition far before the more commonly known classical period of ancient Greek sculpture. It examines the style, form and the creative intention of the sculptor and compares them to early Egyptian and Roman sculpture. It argues how, at first glances, the plainess of the Kroisos is disappointing, but if the gazer is willing to look beyond initial impressions, he or she may very well see the beginnings of what would become one of the most influential and moving periods in the depiction of the human frame.
From the Paper
"The Kroisos is a young man, with long hair. His hair is curled in texture, and almost seems like a string of stone beads rather than an actual individuated head of hair. His nose is rather flat. He appears to be smiling about something. However, rather than a depiction of joy, his smile has a uniform, generic quality to it. He smiles but unlike the ?Mona Lisa,? his smile does not seem directed at the gazer, nor about something in his line of vision, much less an important thought perplexing his mind. The sculpture?s tone of commonality of representation rather than individuation of representation, is further emphasized by the smooth, almost lidded expression to the Kroisos? eyes."
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"Stepping Out", 2002.
An analysis of the 1978 painting by Roy Lichtenstein entitled "Stepping Out".
1,906 words (approx. 7.6 pages), 0 sources, $ 60.95
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Abstract
The paper provides a detailed analysis, as well as a personal review, of the oil and magna painting "Stepping Out' by artist Roy Lichtenstein, which is displayed in the The Metropolitan Museum of Art. The paper shows how "Stepping Out" is a work of Pop Art and seems to epitomize the superficiality of the dating experience in America. The paper also describes other works of art by Roy Lichtenstein.
From the Paper
"Artists like Lichenstein and Warhol represented the natural creative progression of twentieth century art. Moving away from the abstract expressionist vogue they depicted the everyday reality of mass culture. Themselves emerging from a background in commercial art, they used familiar objects both to allow viewers to relate directly to art and to offer social satire.
Contemporaries, Lichtenstein and Warhol matured in their art under the heritage of American forerunners Robert Rauschenberg and Jasper Johns who planted the seeds of Pop Art. Rauschenberg constructed collages from household objects and Johns repetitively painted American flags and bull's-eye targets. These artists in turn emerged under the influence of European forerunners like Richard Hamilton who produced Just What Is It That Makes Today's Home So Different, So Appealing? in 1956."
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