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BalletNY and the History of Ballet, 2007.
This paper provides an overview of the history of ballet and looks at the BalletNY dance company.
1,909 words (approx. 7.6 pages), 11 sources, MLA, $ 60.95
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Abstract
Describing ballet as a classical dance form characterized by grace and precision of movement and elaborate formal technique, the writer of this articles presents a history of ballet. The writer looks at the BalletNY company and notes that BalletNY has become a well known and respected dance Company. The writer discusses BalletNY's principal dancers. The writer concludes that the New York City Ballet has done what BalletNY hopes to do, acquire one of the largest, most faithful, intelligent, and enthusiastic audiences in the American theater world.
Outline:
Humble Beginnings
The Emergence of Ballet
Opra Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper
"Formerly DanceGalaxy, BalletNY was founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and International Guest Artist Medhi Bahiri. BalletNY is comprised of accomplished principals and soloists who have danced with leading American and international ballet companies such as New York City Ballet, American Ballet Theatre, Dance Theater of Harlem, and the Joffrey Ballet, among others."
"Judith Fugate is a former principal ballerina with the New York City Ballet. She has danced roles in virtually every ballet in the NYCB repertoire counting Peter Martins and Mikhail Baryshnikov among her many famous partners. In 1997, she left the New York City Ballet Company to purse a career as a freelance Guest Artist and Co-Artistic Director of what is now known as BalletNY."
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Japanese Prints and the Impressionists, 2007.
This paper explores the influence of Japanese printing on 19th century European art.
1,600 words (approx. 6.4 pages), 10 sources, MLA, $ 52.95
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Abstract
This paper explores the influence of Japanese wood-block prints on Impressionist and Post-Impressionist painting. The writer introduces the evolution of wood-block printing in Japan and its distinctive form, technique and style of drawing that attracted the impressionists. This is followed by a listing of artists who were exposed to these prints and how they affected their works. These artists include Degas, Pissarro, Cassatt, Renoir, Morisot, and Manet among others.
From the Paper
"This type of printing changed during time, and the works that we see today and also the ones the impressionist saw were the end product of a long evolution. "Printmaking is composed of the division of labour of many craftsmen, such as painters, engravers and printers, and needs at least the same number of different woodblocks as colours, often more than twenty wood-blocks. At first, there was just a one colour woodblock prints with brush-added colour in the 1710s, then two or three colours wood-block prints evolved in the 1740s, and finally in the 1760s the multi-colour wood-block prints called "nishiki-e" (brocade picture) was invented and continued to the early Meiji period in 1890s." "
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Islamic Art, 2007.
An examination of Islamic exhibits into Islamic ancient music, art and dance.
940 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper discusses Islamic art, music and dance. It presents these three aspects of Islamic art in the form of an exhibition and details the history and practices of each art form. It begins by discussing five Islamic musical instruments, then goes on to discuss Islamic views on dance and finally looks at the different cultural influences that contribute to Islamic art.
Table of Contents:
Introduction
Music
Dance
Art
From the Paper
"Muslims have had different views about dancing. Throughout Islam history, there have been times of greater acceptance or rejection of dance. Some believed there should be no dancing. To others, folk dancing between the same sex is acceptable, but not between mixed couples. Also, some see dancing as a way to become closer to Allah. Sa'adi, a Persian poet wrote about a band of travelers who came upon a boy who danced beautifully. Everyone was amazed by his talents, except a man who complained that dancing was wrong. However, his camel lifted his feet in dance and threw the rider to the ground. Those around said that even God's creatures could enjoy the dance, so why not he?"
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Dada Art, 2006.
This paper describes the Dada movement and the artists Marcel Duchamp and Francis (Francois) Picabia.
2,675 words (approx. 10.7 pages), 5 sources, MLA, $ 80.95
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Abstract
This paper explains that the Dada movement, whether a painting, book or treatise, was intended to make the viewer think, to reconsider every one of his or her opinions, to break through the old boundaries and begin to look at the world in a new way. The author points out that Marcel Duchamp's "Fountain", an ordinary urinal, was his manifesto about the society for which the "artwork" had been made because, in this still nearly-Victorian age, Duchamp committed the unpardonable sin of making public that which should never even be mentioned. The paper relates that Francis Picabia's "painting" "Sainte Vierge" or "Holy Virgin", which is no easier to identify with than Duchamp's "Fountain", is an inkblot; the importance of which is the viewer's initial reaction to this Dada art. The paper includes several long quotations.
From the Paper
"Whether in New York or Europe, Dada was a "movement" of the avant-garde. In order to understand the Dada, one must look into the conditions that gave it form and substance. The First World War was only an immediate cause - it was the spark that caused people like Duchamp and Picabia to search for a radically new form of expression. But Dada was more than paintings. Drama and literature could as much be expressions of Dada as any of Duchamp's or Picabia's works. By the time, Duchamp and Picabia had begun, independently, to create the style that would become Dada; the avant-garde had already established itself as a synthesis of the radical and the rebellious."
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War, 2007.
This paper studies various works in order to examine the subject of war.
883 words (approx. 3.5 pages), 4 sources, MLA, $ 31.95
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Abstract
In this article, the writer points out that a variety of artists and others have sought to encourage people to consider both the horror of war and whether a need for warfare actually exists. The writer notes that in her essay "Warfare: An Invention-Not a Biological Necessity," anthropologist Margaret Mead argues that waging war is a choice made by humans and not something innate to our species. The writer describes that in "The Man I Killed," Tim O'Brien communicates the effect of choosing warfare on one soldier. The writer also explains that Garry Trudeau, in his cartoon "Doonesbury", uses visuals to broaden the message and demonstrate the high number of soldiers who have endured the trauma of war. Further, the writer discusses a painting by the Spanish artist Pablo Picasso, that shows an image of warfare based on civil war in Spain that demonstrates the terrible toll war can take on non-combatants. The writer concludes that the four artists present war as both avoidable and terrible.
From the Paper
"Mead did not analyze any particular war. Rather, she demonstrated that warfare is an act that was invented by societies, not something necessary for human existence. By doing this, she argued that warfare was avoidable. She used the parallel of how trials developed through time in societies, evolving from barbaric practices to civil, logical proceedings. Through this analogy she suggests that war is barbaric and that societies should strive to find nonviolent ways to settle differences between countries and societies, just as societies have found civil ways to settle disputes between individuals or between individuals and the societies in which they live."
"Having established that warfare is only one way to settle differences, the other artists in this selection of examples demonstrate what it is that makes war barbaric. Tim O'Brien's story draws the reader into the mind of both the American soldier and the Vietnamese soldier he kills. We feel the horror of the American soldier, Tim, as he views the terrible damage done to the enemy soldier."
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African Art and Repatriation, 2007.
A debate over the importance of cultural repatriation of the Lega figure to the people of Congo.
715 words (approx. 2.9 pages), 2 sources, MLA, $ 25.95
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Abstract
This paper discusses the issues surrounding cultural and artistic repatriation, which remains one of the most contentious debates within the international archaeological and artistic community. The paper specifically discusses the Lega figure and the arguments for and against its repatriation, for cultural reasons, to the people of Congo. The paper then draws a conclusion as to the best course of action to take, regarding this piece of work.
Table of Contents:
Basic Criteria For Repatriation
Argument In Favor Of The Return Of The Selected Object
Argument Against The Return Of The Selected Object
Conclusion
From the Paper
"However, merely because using the Lega figure as teaching tools in museums to different nations of the world does not justify the cultural loss to the people of the Congo, who originated these works to be part of their religious tradition, not as artifacts to teach the nations who exerted colonial domination over their territories. Also, even if the Lega figures are individualistic, this does not take away from their ritual significance. Finally, the idea that Western art scholars only approved of the Lega after recognizing the individual component added by certain creators shows that the Lega remain judged by Western standards, and not by the indigenous standards of their local community--the repatriation and relocation of the works may be necessary so the world can be educated in the contextual significance of these figures as well as judged by Western standards."
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The "Heart Sutra", 2007.
A description of the "Heart Sutra," a 2001 Korean work of art by the artist Yoon Kwang-cho.
1,075 words (approx. 4.3 pages), 0 sources, $ 37.95
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Abstract
The paper describes how to the naked eye of the casual observer in a museum, the work looks like a rough, oblong stone with an unfinished granite-like texture. The paper portrays the overall effect upon the viewer as one of curiosity, rather than awe or power, given that the observer cannot gain full access to the meaning or even the placing of the work. The paper shows how the slab with the sutra ultimately poses more questions than answers, due to its incomplete nature. The paper suggests that this sense of unfinished texture of the stone and the word's meaning is perhaps the most powerful effect of the work.
From the Paper
"To a Western eye, this slab looks almost like a Rosetta Stone, or an ancient artifact from long past that is supposed to encompass the words from another time or place and memorialize these words in a kind of sculpture. The stone appears ripped or extracted from something larger than the displayed artifact, as if it is an ancient bit torn from a ruin, rather than a complete and holistic work or vision of an artist. The form of the sculpture, a recreation of an archeological work, suggests that the artist wished to suggest that the work was, in some sense, ripped from the past, either figuratively or literally."
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"Dancers in Pink", 2007.
An analysis of the techniques employed by Edgar Degas in his painting "Dancers in Pink."
1,379 words (approx. 5.5 pages), 8 sources, MLA, $ 46.95
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Abstract
This paper analyzes the painting "Dancers in Pink," painted by Edgar Degas in 1878. The paper describes the compositional structure of the painting and how it appeals aesthetically to the viewer. The paper then goes on to discuss the synthesis between form and color in the entire work and how they enhance the overall painting. The paper concludes by describing the use of paint and the technique of paint application, as well as Degas' choice of hues and tones.
From the Paper
"This experimentation with painting technique can be seen in the different method of paint application work. Some areas in the dresses of the two main figures are thinly painted, possibly diluted with turpentine, while others seem to be more impasto-like in their quality. It is the use of washes over thick paint that, especially in the skin tones, provides the feeling of tactile sensuality. It seems as if the pink and orange has been painted over an underlayer of flesh tones, which can just be seen beneath the rich folds of the dresses. The brush strokes also vary throughout the painting, with smoother and crisper brushwork in the dresses and figures and rougher, more 'sketchy' brushwork in the background and in the smaller figures."
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Ansel Adams, 2007.
A biography of the American photographer, Ansel Adams.
1,428 words (approx. 5.7 pages), 4 sources, APA, $ 47.95
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Abstract
The paper examines how Ansel Adams was a "straight photographer" who captured the beauty of natural America, particularly the West. The paper explores how he was also a national icon who worked tirelessly for the preservation of the national parks and furthered the cause of environmental groups such as the Sierra Club. The writer proposes that Adam's art was an expression of himself, in the sense that he found the sublime in nature and transmitted it so that others could experience the same refulgence.
From the Paper
"An artistic sensibility characterized the young Ansel Adams. "When Adams was twelve he taught himself to play the piano and read music. Soon he was taking lessons, and the ardent pursuit of music became his substitute for formal schooling." He imagined himself becoming a concert pianist. Such training was not wasted, even though he did eventually give up the piano in favor of the camera. "From music, he brought to camera work long hours of practice. This accustomed him to technique and hard work; intense study of great composers led him to a deep sense of esthetics, also the direction of creativity required of a performing artist, which interestingly enough, fit photography very well."
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| Term Paper # 93975 |
temporarily unavailable
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Aboriginal Australian Art, 2006.
This paper discusses the difficulty of understanding Aboriginal Australian art.
1,520 words (approx. 6.1 pages), 3 sources, MLA, $ 50.95
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Abstract
This paper explains that the range of motifs used in Central Australian rock art depends upon the context of production; however, sacred and secret art is almost exclusively made up of geometric designs and tracks; while art in secular, domestic situations places more emphasis on figurative motifs. The author points out that Aboriginal Australian art, which spans all of pre-recorded history, is an expression of secrecy and the eternal. The paper explains that, as with other Aboriginal artistic systems, there was a range of secret geometric designs, such as the stripes and dots of white clay, red and yellow ochre and black charcoal that were painted on wooden objects, which could only be viewed by initiated men and were hidden away from domestic sites.
From the Paper
"Many of the bark and cave paintings have no ceremonial or religious function, but are produced for pure pleasure of creative effort, a pleasure which stimulates the true artist in all cultures. There are paintings, both on bark and in caves, which have more important functions. In the initiation rituals, secret designs, painted on sheets of bark, instruct the novitiates in the esoteric myths of the tribe, and, in western Arnhem Land, where some of the cave paintings have magical qualities, the old men can, by chanting the correct incantation at the appropriate season, force the magical power of the painting to increase the supply of food."
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Hegelian Aesthetics, 2006.
A discussion regarding Friedrich Hegel and the finite nature of art versus the infinite expression of cycles.
3,182 words (approx. 12.7 pages), 6 sources, MLA, $ 92.95
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Abstract
This paper reviews how Hegel's aesthetic ideal is associated with art or more specifically fine art, as the first of three expressions of the culmination of spiritual development from objective then subjective to the absolute, or the combination of both objective and subjective spiritual awareness. The paper goes on to discuss how 'absolute reality' is what Hegel would refer to as the 'absolute spirit', or the world spirit that is shared by all.
From the Paper
"Desmond goes on to say that Hegel claims that there has been a divorce of the self from art and that art no longer serves this purpose, yet many if not all artists would coldly disagree or even agree in the sense that art is driven not only by self but by a common current of art for the sake of the other, the consumer. Artists constantly challenge the concept of art for self as they outwardly grapple with selling something so reflective of self to another who may or may not understand the message. This is reflected in the modern by the idea that in art, music and even knowledge, success is a failure that many are seeking, again a reflection of the incomplete being the base of contradiction and need for synthesis."
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