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Children's Books by Maurice Sendak, 2007.
Compares Maurice Sendak's illustrations in her book "Where the Wild Things Are," with her illustrations in "Little Bear's Friends," written by Else Holmelund Minarik.
1,461 words (approx. 5.8 pages), 4 sources, MLA, $ 48.95
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Abstract
This paper compares and contrasts the illustrations of Maurice Sendak in two children's books - "Where the Wild Things Are," written by Sendak herself and "Little Bear's Friends," written by Else Holmelund Minarik. The paper begins by describing the role that artists play in picture books and then discusses the importance of the illustrations. The paper also describes how effective the illustrations are in each of these books.
Table of Contents:
Evaluation of "Where the Wild Things Are"
Evaluation of "Little Bear's Friend"
Comparing "Where the Wild Things Are" and "Little Bear's Friend"
From the Paper
"Now, it is time to evaluate the two books and how they are similar or different. Where the Wild Things Are is not only illustrated but also written by Maurice Sendak, while Little Bear's Friend is written by Else Holmelund Minarik. Where the Wild Things Are is larger and has more illustrations than the second book. It also is more colorful than the second book. While there is only a line or two per page in Where the Wild Things Are, the Little Bear's Friend has four to six lines of words. The first book is designed for earlier ages than the second book, but all ages would enjoy looking at the illustrations of the first book. Both books are designed to teach a moral lesson. The first book teaches Max that even though his parents may discipline him they still love him, while the second book teaches a lesson on the importance of friendship. Both of these books compare to other children's books for these ages. The words in both books are age appropriate for four to eight year olds. Younger children will enjoy Where the Wild Things Are more than Little Bear's Friend."
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The Baroque Era, 2007.
An analysis of the key aspects of baroque era philosophy and painting styles.
986 words (approx. 3.9 pages), 1 source, MLA, $ 35.95
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Abstract
This paper examines the key aspects of baroque philosophy and painting, which became manifest during the 17th and 18th century. It describes the works of various artist from this period and examines how realism, a strong appeal for decoration and humanism are the key aspects of Baroque painting styles and philosophical discourse. The paper describes the key aspects of the painters and important thinkers of the baroque period as seen in their major works.
From the Paper
"In conclusion, the baroque era offers various styles of painting that are unified in their reality, details, and the most important aspect of the era: humanism. The underlying reality of life after the medieval period showed signs of the classical revival of Platonic thought and realness, which was previously dominated by the mythic sensibilities of the 16th century and earlier. These three aspects of baroque painting and history define the historical revival of classical thought in this period of European history."
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Film-Making College Application, 2007.
The paper concerns a college application regarding studies in film-making.
926 words (approx. 3.7 pages), 0 sources, MLA, $ 32.95
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Abstract
This article concerns a personal statement in which the writer states a life-long desire to be a film-maker. This article serves as a college application in the field of film-making. The writer states a belief that everyone has the potential never to stop growing until the day one dies and that is a reason why film appeals to the writer so. The application is concluded stating the writer's sincerity and great love for the art of making films, which resonate long after the final credits have rolled and the lights have dimmed.
From the Paper
"As a film-maker, I want to be able to resurrect a great figure, pull back the veil of mystery surrounding a famous crime, or capture the spirit of a by-gone era. For reasons such as those, I am especially interested in cinematography and in editing - but I am eager to explore and to learn about all aspects of the film-making process."
"As a citizen, my goal is constant personal evolution. I believe that each of us has the potential to never stop growing until the day we die and that is one other reason why film appeals to me so: at its core, it is the most dynamic of all the creative arts - it gives life and motion to words on a page, after all - and I want to experience the pleasure of constantly molding and crafting a living, breathing, growing film until I am finally satisfied that it has been "done right"."
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Creativity and Teaching Methodology, 2007.
An analysis of the importance of nurturing creativity in children.
878 words (approx. 3.5 pages), 1 source, MLA, $ 31.95
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Abstract
This paper discusses how creativity is natural or an innate exploration of new ideas. It then discusses the importance of a creative approach in nurturing creativity in children and how it should be used in a teaching environment. Finally the paper describes methods for instilling creativity in children. The paper bases its discussion on "Art and Creative Development for Young Children" by Robert Schirrmacher.
From the Paper
"One method for instilling creativity in children is to firstly understand the basis of learning models for children with these learning sets. For example, if creativity is defined as being "artistic", then the teacher should learn the basic concepts of paintings or other forms of artistic expression such as drawing, sculpting, etc. By garnering a knowledge in this form of creativity, the teacher should be able to relate these tools of creativity to help the child build skills along established standards. However, the pure physicality and exploration of art may only require the teacher to provide paints, clay or whatever building blocks that helps the child "play" with materials. This will help bring out possibly innate creative qualities that will support a more open response on the part of the child to learn how to be creative."
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Janine Antoni's Art, 2007.
This paper compares and contrasts the artworks "Loving Care" and "Mom and Dad" by Janine Antoni.
1,023 words (approx. 4.1 pages), 5 sources, MLA, $ 36.95
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Abstract
This art study compares and contrasts the basis of pop art and performance art within the two works; "Loving Care" and "Mom and Dad" by Janine Antoni. The paper demonstrates how Antoni works within two different mediums within the context of these pieces, but keeps the central aspect of gender conflict that arises in modern society. The paper illustrates how Antoni reflects older traditions in the modern mass media perspective, but adds social and technological elements of her generation within her works.
From the Paper
"The first work to be examined is entitled "Loving Care" (1993) by Janine Antoni. Although this performance piece has to be witnessed to be fully experienced, the photograph used in this study will seek to define the actual principles of what Antoni was trying to accomplish in this piece (Antoni "Love and Care"). The medium of this performance uses black hair dye, which is applied from a bucket to the hair of the artist. The dye is then spread with the hair much like a mop on the floor. The immediate commentary on this type of dye application revolves around the protest of beauty and women within the household. Immediately, there is a sense of the woman acting as a servant not with cleaning agents, but with the normative standards of beautification that the dye symbolizes for women in the modern era (Goldberg 229-231)."
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Raphael Sanzio, 2007.
An outline of the life and works of artist Raphael Sanzio.
1,028 words (approx. 4.1 pages), 4 sources, MLA, $ 36.95
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Abstract
The paper describes Raphael Sanzio as a prolific and gifted sixteenth century painter. The paper relates that he primarily concentrated on works with a religious focus and is best known for his many depictions of the Madonna. The paper provides a brief biography of his life and concludes that although he died a young man, Raphael Sanzio has a deservedly prominent place in art history.
Outline:
Biography
Inspiration and Artistry
The Madonnas
School of Athens
Conclusion
From the Paper
"Raphael was born in Urbino, Italy, on April 6, 1483 (Urton par. 1). Much of his early artistic training came from studying with his father, Giorgio Vasari, who Emil Kren and Daniel Marx describe as "a man of culture who was in constant contact with the advanced artistic ideas current at the court of Urbino," although he did not have great artistic skill himself. After his father's death, Raphael went on to study with Pietro Perugino, in Perugia, Umbria, where he may have arrived as early as 1495 (Urton par. 1, Kren and Marx par. 4). Kren and Marx indicate that he was already called a "master" by 1505, at which time he received his first major commission (par. 4)."
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Mass Media Repetition, 2007.
This paper looks at the classic "16 Jackies" (1964) of Andy Warhol.
1,099 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
The paper examines the "16 Jackies" by Andy Warhol, which was created after the assassination of John F. Kennedy in 1963. The paper explains that this series of pictures of Jackie Kennedy was manipulated by Warhol to demonstrate how the mass media acts as an agent that empties a person of emotion due to the constant barrage of images that deplete the ability to feel emptiness and apathy.
From the Paper
"The aim of this art study will be to examine the classic 16 Jackies (1964) of Andy Warhol. This series of pictures taken from Life magazine have been manipulated to exhibit the emotional detachment of society through the mass media. In regards to Jackie's four different poses within Warhol's 16 image use of photographic repetition, Warhol believed that the emotional 'droning' influence of the mass media would make Kennedy's assassination far less impacting on the underpinning reality. In essence, mass media acts as an agent that empties a person of emotion due to the constant barrage of images that deplete the human experience to feel emptiness and apathy in the art of Andy Warhol."
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Art Education, 2007.
This paper analyzes the learning difference between the knowledge-based classroom setting and the internship experience.
820 words (approx. 3.3 pages), 4 sources, APA, $ 29.95
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Abstract
In this article, the writer discusses that the basis of this formal art analysis is to provide the various differences that occur in learning environments. The writer notes that although the classroom offers a knowledge based criterion for learning; the internship work environment offers a different, more realistic application of these knowledge-based principles through experience. In this manner, the writer points out that both applications for learning are necessary, but they offer different approaches to understanding insular and external environments in interior design.
From the Paper
"The major difference between these two different learning methods is the insular learning within the classroom, and the external facets of the working environment in an internship. In this manner, the knowledge that I had gained in the classroom could not replace the complicated experiences that I encountered in the workplace. For instance, at my internship, I was asked to answer phone calls from possible clients. Although I had learned much about interior design in the classroom, there was a great deal more learned by simply talking with clients and their highly varied stylistics. The demands of their artistic vision, the complexities of their style tastes, and other factors brought an experiential and real world application of knowledge into action. In many cases, what I had learned in the classroom often seemed like rigid method guidelines, which forced me to be more creative and intuitive with customers. Although one can expect the classroom to teach everything there is to know about interior design, the necessity of an internship helped me to get real world experience and forced me to adapt to design principles that rely on intensive adaptivity, not book knowledge."
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William Blake, 2007.
This paper discusses the life of poet and artist, William Blake.
1,157 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
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Abstract
The paper provides a brief biography of William Blake's life. The paper discusses how religion, mythology and mysticism were three themes that greatly affected his art. The paper looks at his mental illness, visions and isolation from the world. The paper concludes that despite never being fully appreciated in his lifetime and lacking in commercial success, William Blake remains one of the great poets and artists of his time.
Outline:
Biography
Influences on Blake's Work
Blake's Life and Work Compared
Conclusion
From the Paper
"William Blake was a poet and artist who lived in London during the eighteenth century. He was, however, unappreciated during his lifetime. Blake was an innovator in both of his arts and found a way to combine them. In addition to his poetry and his art, Blake was also unique for his visions, which he experienced all of his life."
"Blake was influenced by other many other artists and other writers in both forms of his art. The events that shaped his life also influenced the forms that both his art and his poetry took. Blake remained, however, true to his own vision of the direction his art should take."
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Romantic Artists: Goya and Delacroix, 2007.
This paper discuses two artists of the romantic movement, Francisco de Goya y Lucientes (1746-1828) and Eugene Delacroix (1798-1863).
1,360 words (approx. 5.4 pages), 4 sources, APA, $ 45.95
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Abstract
This paper explains that, during the romantic movement in Spain and France, which is described as an anti-intellectual movement in both art and literature, artists of this tradition actively commented against the traditions of aristocratic domination of politics and societal norms and supported the rise of nationalism. The author points out that both Goya and Delacroix related their artistic visions and imagination to actual events and made political statements through their depiction of war. The paper explores this theme in Goya's "The Third of May 1808", which he created in response to the tyranny of Napoleon's forces, and in Delacroix's "Massacres at Chios, 1824", which was his objection to the continuing social repression of the professional and peasant classes.
From the Paper
"The decades preceding and following the turn of the 18th century were violent and bloody. It was an era of much political and social upheaval where people, ranging from both intellectual and educated to peasants, began to question the role and power of the aristocracy whom they began to view as irresponsible despots . In particular, the divine right of royalty was questioned along with the rules they imposed upon their subjects as well as the war atrocities they caused. Artists, including painters began to portray the fall out of this political upheaval."
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The Politics of Painting: Ha Qiongwen, 2007.
An analysis of the relationship between art and the people in China, as seen in Ha Qiongwen's works.
2,240 words (approx. 9.0 pages), 6 sources, MLA, $ 69.95
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Abstract
This paper looks at the artwork of Ha Qiongwen and the manner in which his artwork captures the collisions between "art" and the concept of "the people." It also discusses the concepts of "art" and "ritual" and "art" and "revolution." In addition, the paper describes how Ha Qiongwen facilitates a better understanding of the China within which he worked. Finally, the paper briefly looks at two of Ha Qiongwen's more prominent works and how they lay bare the relationship between cultural production and art.
From the Paper
"As this paper draws to a close, the artwork of Qiongwen informs far more than it reflects the mores of this writer. To wit, Ha Qiongwen's work underscores the centrality of artistic propaganda in furthering the "messages" of the Chinese state and it also offers a glimpse into the dynamics of Chinese society during the 1940s, 1950s, 1960s and even 1970s. Beyond that, Qiongwen's artwork reveals that, even if revolution was "in the air", some socio-cultural assumptions remained firmly entrenched after 1949. For example, while women were now expected to pick up a weapon in defense of the revolution, they were nonetheless still expected to remain in their domestic roles at the same time. Be that as it may, the artist does reflect this writer's personal interests insofar as he seems to fully appreciate (as the writer does) the propagandistic value of artwork - an appreciation that perhaps too few people share."
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Quebec Radical Cheerleaders, 2007.
This paper explores how the activities of the Toronto faction of the radical cheerleaders in Quebec City were both reactionary and revolutionary.
2,175 words (approx. 8.7 pages), 10 sources, MLA, $ 67.95
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Abstract
The paper explains that individuals and groups use civil disobedience to protest a wide range of issues raging from environmental pollution to political or social corruption. The paper looks at the activities of the Toronto faction of the Radical Cheerleaders during the anti-FTAA (Free Trade of the Americas Act) protests in Quebec City. The paper shows how the radical cheerleaders displayed a combination of reactionary and revolutionary characteristics.
From the Paper
"People all have interests and opinions. Groups of people and individuals tend to show a wide range of interests and opinions. In society some of these people's interests and opinions will receive a great deal of attention while others will be ignored or suppressed. People that do not have their interests meet or their opinions heard usually have to rely on alternative methods to make their voices heard. One of the more common ways is civil disobedience. Civil disobedience is defined as, "refusal to obey governmental commands especially as a nonviolent means of protest"(Anonymous 96)."
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Using The Arts To Teach ESL, 2007.
An analysis of the effectiveness of the use of an art-based style of language learning.
2,495 words (approx. 10.0 pages), 10 sources, MLA, $ 75.95
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Abstract
This paper examines the evidence supporting the use of arts to teach English language learners (ELL). It discusses the use of arts as a creative and effective way to reach all students in the mainstream classes, but especially English language Learners. The paper begins by explaining the art-based style of language learning. It then develops a proposal for the study of this learning style.
Table of Contents:
Goal and Purpose
Review of Literature
Impetus
Procedure
Data Analysis
From the Paper
"As a response to Gardener's theories of multiple intelligence many educators now believe through observation and research that the arts are an avenue that can precipitate learning in a diverse enough way to reach all types of learning styles and students coming from diverse backgrounds, with diverse intelligences. With the growing diversity in the California schools and the stress to create inclusive or mainstreamed classrooms the need to address this issue will become increasingly important, and answering that question with a multifaceted arts driven curriculum may enhance the skills of all learners."
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Buddhist Art and Spirituality, 2007.
An analysis of the concept of the bodhisattvas as their place in Buddhist art and spirituality.
874 words (approx. 3.5 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper discusses Buddhist art and spirituality, particularly the concept of the Bodhisattva. It describes the history of the idea of the Bodhisattva and its definition. The paper then describes depictions of the bodhisattvas and their place in Buddhist worship. The paper also shows how the bodhisattvas varied from China to Japan, depending on the needs of the people.
From the Paper
"From the Indian Subcontinent, Mahayana Buddhism spread from China to Japan and adapted itself to the religious needs and traditions of that nation. Japan developed its own pantheon of individuals who forestalled their enlightenment to help others find nirvana. For example, the Bodhisattva Jizo Bosatsu is the Japanese "Bodhisattva of the Earth Womb" and a "savior bodhisattva, who guides the faithful and helps those in hell. In Japan, he is also worshiped as the protector of women, children, and travelers. Stone statues of the bodhisattva are often placed at crossroads" to help travelers physically navigate the roads, and also encourage them to seek the path of enlightenment ("Jizo," Asian Art Outlook, 2002). This highlights the practical function of the bodhisattva in worship, but also shows how even a worldly depiction of this religious figure as a traveler's guide is not lacking in spirituality."
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The "Bodies" Exhibit, 2007.
A description of the "Bodies" exhibit that uses plasticized corpses to display human anatomy and physiology.
935 words (approx. 3.7 pages), 1 source, MLA, $ 33.95
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Abstract
The paper describes the "Bodies" exhibit, one of several traveling science exhibitions illustrating human anatomy through a remarkable use of real human cadavers. The paper explains that the exhibit includes whole plasticized corpses placed in athletic poses that show off the inner workings of the human body, as well as body parts, for a more in-depth analysis of organs and systems. The paper is of the opinion that in spite of its coldly scientific vibe, the exhibit is well-managed, inspiring and highly informative.
From the Paper
"In addition to the general goriness of the exhibit, the source of the bodies has cause considerable controversy. Unlike von Hagen's, the bodies in the Seattle exhibit were those of people who died of natural causes but were unclaimed by friends or relatives (Doughton). Because they were unclaimed, the bodies were donated to a medical hospital and were later plasticized for Bodies. Dr. Sui Hongjin, a protege of Dr. Hagens, was in charge of the plasticization technique used on the bodies on display in the exhibit (Doughton)."
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Michelangelo & the Pope's Ceiling, 2007.
This paper provides a review of the work 'Michelangelo & the Pope's Ceiling' by Ross King.
2,452 words (approx. 9.8 pages), 1 source, MLA, $ 74.95
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Abstract
In this article, the writer discusses Ross King's 2003 non-fiction account of the painting of the ceiling of the Sistine Chapel, 'Michelangelo and the Pope's Ceiling'. The writer notes that the work reflects on all the components involved - the ceiling, Michelangelo's frescoes - as well as his involvement. More importantly however, the writer maintains that this title is a reflection on Michelangelo's detachment from the job which has become one of his crowning achievements and that it was in fact the ceiling of the Pope who commissioned the job, and not of Michelangelo. The writer points out that King goes to great lengths to make these points clear and he does so with great accomplishment that the reader is left to believe that Michelangelo, one of the greatest artists in world history, did in fact struggle with this job and he was just biding his time until he could again sculpt. The writer concludes that King makes his point convincingly, with utmost care and ample factual evidence, while creating a historical account which reads almost like a novel.
From the Paper
"One such example of suspense in a historical work has to be the story of a young master in Rome who shares the city with Pope Julius II and the Sistine Chapel. Not Michelangelo, this is Rafael who is praised as a prodigy by those of his time and whose story is told by King intermittently throughout. Upon reading, it is almost as if one is kept waiting for some kind of collision between the two artists, Rafael and Michelangelo. Although nothing comes of it, the ambiguous tone in which Rafael is discussed, leaves a great deal to be anticipated by the reader. Also, Rafael's depiction is brought up through the work and without any sort of pattern or predictability. Just one example of King's ability to keep his work interesting, Rafael is an interesting subject that adds more to the story."
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Walter Gropius and the Bauhaus Movement, 2007.
This paper studies Walter Gropius and looks at the role and significance of the Bauhaus Movement.
2,071 words (approx. 8.3 pages), 4 sources, APA, $ 65.95
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Abstract
In this article, the writer presents a brief biography of Walter Gropius's early life, including education and influences. The writer discusses the role played by the Bauhaus Movement in the Imperial Germany of the 19th and 20th centuries in addition to describing the contribution made by the Bauhaus style of Architecture in the United States. The writer concludes that Walter Gropius was without doubt one of the most important architects of the previous century. The writer maintains that his significance lies in having realized the necessity of combining the previously separate fields of art and craft early in his career and in bringing the art of designing closer to the realities of the industrial age.
Outline:
Walter Gropius's Life
Early Influences and Work
The First World War and Marriage
Weimer and Dessau
Exile, Harvard and Death
The Role of the Bauhaus Movement in 19th and 20th Century Germany
Background
Influence of the Bauhaus Movement in Germany
Bauhaus Style Contribution in the United States
Conclusion
From the Paper
"Even before of the end of World War I, Walter Gropius was invited to become the director of the School of Arts and Craft and the Academy of Fine Arts in Weimer. Walter accepted the position and took over as the director of the institutions in 1919 after the end of the War. It was a time of artistic confusion and architects and designers, as well as painters and sculptors who were mostly individual romantics seemed to be drifting directionless with their art. Amidst such confusion, Gropius knew exactly what to do: he was convinced that no distinction could be made between fine arts and practical crafts and immediately proceeded to unify the two schools, re-naming it the Staatliches Bauhaus Weimar. The move proved to be a pivotal moment in Gropius's life and modern architecture as it signaled the start of the Bauhaus movement. It was at Bauhaus, Weimer that Gropius introduced his new approach to design education that emphasized the principal of uniting art and technology that revolutionized modern design."
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Abstract Expressionism, 2007.
This paper discusses the artistic style of abstract expressionism.
877 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
The paper explains how abstract expressionism emphasized the basic character of a person or object while having little visual reference to the real world or to nature. The paper discusses some of the artists associated with abstract expressionism that include Jackson Pollack, Willem de Kooning, Franz Kline and Mark Rothko.
From the Paper
"According to Paul Stella of the Metropolitan Museum of Art, abstract expressionism was created in the early 1940's in New York City by a small group of artists who devised "a stylistically diverse body of work that introduced radical new directions in art. Some of the artists associated with abstract expressionism include Jackson Pollack (1912-1956), Willem de Kooning (1904-1997), Franz Kline (1910-1962) and Mark Rothko (1903-1970), all of whom advanced "audacious formal inventions in a search for content" via new techniques and subject matter. Overall, the works of art that currently define abstract expressionism stand as reflections of these artist's individual psyches and their attempts to "tap into universal inner sources," meaning that abstract expressionists relied heavily on the collective unconscious in the form of archetypes that express man's most primitive and at times violent emotions ("Abstract Expressionism," Internet)."
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Claude Monet and Vincent Van Gogh's "Sunflowers", 2007.
A comparative analysis of Claude Monet and Vincent Van Gogh's paintings known as "Sunflowers".
1,004 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper examines how both Claude Monet and Vincent Van Gogh selected the subject of sunflowers for two of their most famous still life paintings. It looks at how, although both artist's works may depict the same type of flower, the color, light and shading of the two works are completely different.
From the Paper
"The arrangement of the Van Gogh painting also forces the viewer to look more closely at the individual flowers. Most of the faces of the Van Gogh sunflowers, rather than turn away from the viewer, seem to look at the viewer directly, while others are dying, as if expressing their sadness as they look away. Because of their brightness, and the detail given to each individual flower, the centers of the healthy flowers seem to look like eyes, looking into the viewer's soul, rather than away at something else as in the case of Monet's painting. Even the colors of the central vase are brighter in Van Gogh's painting than in Monet's and jump out at the viewer in the center of the composition. The vase is painted with bright colors, while in the Monet painting the viewer hardly notices the off-center vase."
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