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"Leonardo da Vinci", 2006.
A book report of "Leonardo da Vinci" by Peter Hohenstatt.
1,103 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
This paper looks at the life and work of Leonardo da Vinci (1452-1519) through the book "Leonardo da Vinci" by Peter Hohenstatt. It looks at how chapter by chapter, we are shown how Leonardo da Vinci was one of the greatest painters living and working during the Renaissance Period and how he also was a draftsman, sculptor, architect, engineer and natural scientist.
From the Paper
"The book itself is divided into seven sections--first, the author explores how da Vinci became a legend, not only in his own time but also in the present day. He then traces the beginnings of da Vinci's artistic career in Florence, Italy, while under the mentorship of the De Medici (1469 to 1481). This is followed by da Vinci's artistic breakthrough in the Milan of the Sforzas (1481 to 1499); his commissions within the Republic of Florence (1500 to 1506), da Vinci's experiences in occupied Milan and with Pope Leo X in Rome (1506 to 1517), and lastly, his final years in Amboise (1517 to 1519). The author also includes a section on how the art of painting evolved during da Vinci's lifetime and how it became a true science, blending art with technology."
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Self Portraits Compared, 2006.
Compares two works from the Columbus Museum of Art: Andy Warhol's "Self Portrait 1986" and "Self Portrait" by Chuck Close.
1,716 words (approx. 6.9 pages), 0 sources, $ 55.95
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Abstract
This paper compares two original paintings currently housed in the Columbus Museum of Art in Columbus Ohio. The two works are self portraits, each by American artists of the 20th century. The first painting discussed is "Self Portrait" by Chuck Close. The second is "Self Portrait 1986" by Andy Warhol. The paper shows that although the works are very different, they still tend to represent a similar school in art.
From the Paper
"Another realist artist of the pop area currently exhibited at the Columbus Museum of Art is Andy Warhol. His life and his work are quite different from that of Chuck Close, yet some elements of their social and personal development are the same. Warhol was born in Pennsylvania, the son of immigrant farmers. While Close and Warhol both lost their fathers at relatively young ages, and both showed early talent for art, Warhol went toward a more commercial venue in his early art."
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'The Kritios Boy', 2006.
Examines the Hellenistic sculpture known as 'The Kritios Boy.'
1,533 words (approx. 6.1 pages), 4 sources, MLA, $ 50.95
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Abstract
This paper discusses a sculpture from the Hellenistic period of Greek art called the "Kritios Boy" (artist unknown), which was discovered in the late 1800s by archaeologists in the ruins of the Greek Acropolis in Athens. The paper examines how this statue represents Greek culture, especially the Hellenistic period, in a variety of ways and styles.
From the Paper
"This sculpture clearly illustrates how Hellenistic culture was evolving and changing. The statue includes movement, which makes it a more natural and realistic rendition of people and life of the time. Rather than appearing stylized and even overly rigid, this figure seems as if it could easily come to life, and that represents a great change in style and purpose of Greek sculpture."
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Alfred Hitchcock, 2006.
This in-depth paper analyzes the film techniques of one of America's greatest filmmakers and directors, Alfred Hitchcock.
3,058 words (approx. 12.2 pages), 6 sources, MLA, $ 89.95
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Abstract
This paper details Hitchcock's unique talent for drawing the audience into his characters' thoughts, actions and emotions. This paper focuses primarily on three of the director's films, "Rear Window," "Notorious" and "Vertigo." The writer of this paper delves into Hitchcock's use of the subjective approach which when done correctly lets the viewing audience see into the minds of the characters on the screen. The writer contends and explains how Hitchcock's subjective storytelling and proper camera angles allow the viewer to see the point of view of the characters. This paper analyzes the director's use of subjective cinema which presents an idea in the mind of the character without the need for dialogue while at the same time using a point-of-view shot camera sequence resulting in a build-up of suspense. This paper contends that Hitchcock's use of the subjective approach is a powerful method of filmmaking, even more so than the actual acting. This paper details how the subjective approach along with specific camera angles in "Vertigo" allow the viewers to identify with the protagonist Scottie while the cinematography gives the audience a true sense of the dizziness and fear of falling felt by the character.
From the Paper
"The poison scene with its sequences of Alicia knowing what is happening is another example of the subjective techniques used by Hitchcock. As noted above, the audience has information that even the protagonist does not have. At the start of the scene, the audience knows that Alicia is being poisoned by Sebastian and his mother, because they know she is working for the Americans. The scene also shows the different type of actual camera shots: The establishing shot opens the sequence, frequently an exterior and sets the scene. The long shot (LS), which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings and extreme long shot where the camera is at its furthest distance from the subject, emphasizing the background."
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Artist Henri Matisse, 2005.
This paper discusses artist Henri Matisse and analyzes two of his paintings: "The Blue Nude" (1907) and "The Red Studio" (1911).
1,810 words (approx. 7.2 pages), 2 sources, MLA, $ 58.95
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Abstract
This paper explains that, although Henri Matisse and Picasso are noted as two of the greatest artists of the 20th century, Matisse, whose career spanned many decades, was always humble about his art especially his origins as an artist. The author points out that his work did not show natural items; instead, he attempted to capture emotions, sensations and the experience of his subjects, which very often took on a life of their own and looked more like caricatures rather than real subjects. The paper relates that Matisse is know for his vivid colors and one-dimensionality as seen in his paintings "The Blue Nude" and "The Red Studio".
From the Paper
"In "The Red Studio," Matisse's use of color, imagination, and freedom of expression are all abundantly clear. In the one-dimensional work, detailed paintings clutter the walls, giving a sense of space and yet seeming closely confined at the same time. That is one very interesting aspect of Matisse's work throughout his career. His work was all flat and one-dimensional, and yet it did not seem flat or uninteresting at all. Critic Danto continues, "In 'The Red Studio' we see a corner, but the color of the walls, which meet at right angles, is uniform, as if they stood in the same plane."
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Orientalist Art Market, 2005.
This paper analyzes the impact of the September 11th terror attacks on the art industry while focusing primarily on the genre of Orientalist art.
2,307 words (approx. 9.2 pages), 6 sources, MLA, $ 71.95
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Abstract
The writer of this paper centers on the fields of Far East and Near East art also known as Orientalist art. This paper presents figures and facts pertaining to the genre of Orientalist art from the auction houses of Christie' and Sotheby's as well as others. This well-researched paper discusses the general status of the art industry, while also delving into current trends. This paper examines how the 9/11 terror attacks caused sales and prices in the art industry to drastically fall around the world. This paper discusses the published reports that claim that even prior to 9/11 the art market was showing signs of slowing down. This paper contains published statistics and data pertinent to the art market in general while also presenting 6 illustrated charts and graphs relevant to this particular topic.
Table of Contents:
Introduction
General Art Market Analysis
Orientalist Art Market Analysis
Conclusion
References
From the Paper
"Luckily, the art market was able to rebound quite quickly, despite challenges in other sectors. "After the tragedy of September 11th, the art market has consistently trumped the performance of sluggish equities markets" ("Art investment", 2003). For this reason, the art market, in general, has seen a resurgence, despite the downturn attributed to September 11th. However, not all is smooth sailing for the industry. This was evidenced just prior to perhaps one of the largest events in the art market history was the sale of artwork collected by the late Malcolm Forbes. Forbes was an obsessive collector. From Faberge eggs to Orientalist paintings, Forbes collection grew for more than three decades. 361 pieces of art, from this lifetime of collecting went under the hammer at Christie's in London, in 2003."
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Traditional Hindu Art, 2005.
This report explores both the aesthetic and religious significance of traditional Hindu art.
970 words (approx. 3.9 pages), 3 sources, APA, $ 34.95
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Abstract
This paper discusses the Alsdorf collection of the Art Institute of Chicago, which includes sculpture, jewelry, paintings and architectural elements from India, Nepal, Tibet, Pakistan, Bangladesh, Burma, Thailand, Cambodia and Java influenced by Hinduism. The author points out the difficulty of generalizing about Hindu influenced art because of the diversity of Hinduism. The paper relates that the region's art has been influenced by gods and goddesses, such as Shiva, Ganesa and Brahma, for thousands of years. Illustrations.
From the Paper
"In other words, the views of Hinduism hold many opposing theories that describe aspects of an eternal truth. For example, one underlying focus is that a desire for liberation from earthly evils is and should be a life ambition. These notions and concepts can be clearly witnessed in the region's art as Hinduism plays a major role in what is and was accepted as precious. The Hindu influence had a strong influence on the regions' architecture and the continuous to be a great part of the regions art. For example, Indian art is often depicted with the subjects of art, whether it is in jewelry, statues or paintings, all having various alterations made to the eyes. "
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19th Century Art, 2005.
This paper discusses the revolutionary changes in society and in art during the 19th century in Europe and some of its artists, which altered forever the face of art.
2,085 words (approx. 8.3 pages), 4 sources, MLA, $ 65.95
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Abstract
This paper explains that painting in the 19th century, still highly influenced by the spirit of Romanticism, progressing through the "schools' of Realism, Impressionism and Post-Impressionism, proved an even more sensitive medium for personal expression. The author points out that the Impressionists sought to create the illusion of forms bathed in light and atmosphere, which required an extensive study of natural light as the source of all color, leading to the revelation that the actual color of an object is always modified by the quality of the light in which it is seen, by reflections from other objects and by the effects produced by colors lying against each other. The paper reviews in detail the work of Francisco Goya, Jacques Louis David, Eugene Delacroix, Jean-Auguste-Dominique Ingres, J.M.W. Turner, John Constable, Edouard Manet, Edgar Degas, Georges Seurat, Paul Cezanne, Paul Gauguin, Vincent Van Gogh and Auguste Rodin.
From the Paper
"The history of 19th century painting in its first sixty years has often been interpreted as a contest between Eugene Delacroix and Jean-Auguste-Dominique Ingres (1781-1867) who broke away from David on matters of artistic style, for he believed that David's art was too realistic and based far too much on Greek influences. For Ingres, painting encompassed flat and linear figures, a manner that was severely criticized as being "primitive" and Gothic. However, Ingres soon became the leader of the academic forces in their battle against Delacroix and his contemporaries."
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Western Photography's Perception, 2006.
Examines how societies and cultures are perceived by Western photography.
3,172 words (approx. 12.7 pages), 33 sources, MLA, $ 91.95
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Abstract
Photography is an art form that is constituted by culture and society. At the same time photography is also an important element in shaping cultural realities. It is this complex interrelationship between the photographic image and cultural motivation that forms the basic subject of this essay. The relationship between photography and culture is outlined with reference mainly to American nation building and imagery around the turn of the century. Furthermore, the essay discusses the ways in which western forms of nation building interacted with the problem and perception of the "other" and the way images of "the other" are mediated though photographic images of the period. The paper includes photographs.
Paper Outline:
Introduction
Understanding Anthropological Photography
The Cultural Role of Early Photography in America and Nation Building
Francis Johnston
Conclusion
Bibliography
From the Paper
"The gaze implies a separation and a sense of domination and power that relates to various aspects, including alienation and
"otherness" This also refers to the "patriarchal" gaze: and the gaze from the standpoint of colonial culture. "The majority of anthropological photographs consists of non-Westerners looking away from the photographer, who were mostly white, upper class males, or posed to be in action as to appear candid and natural. " (Tanjuakio J. 2003) This view leads to various other aspects of post-colonial and postmodern theory; such as the assertion that photography is means of "capturing" the non-westerner in terms of control and power."
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?The Four Horsemen of the Apocalypse", 2006.
This paper analyzes the significance and symbolism surrounding Albrecht Durer's wood carving of "The Four Horsemen of the Apocalypse."
982 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
The writer of this paper examines the biblical inspiration behind Durer's well known work of art. "The Four Horsemen of the Apocalypse" are described in the "Book of Revelation," when the seven seals of the book are broken. The woodcut carving depicts four mounted men on an apparent mission of destruction. As the seals are broken, a white, red, and black horse subsequently appear, followed by a pale horse. This paper explores the various interpretations of Durer's carving. According to one commentator, the first white horseman is interpreted as Christ while another sees him as a false prophet. The writer illustrates certain aspects of this particular work of art, by clearly describing three of the powerful riders on their white, red and black horses galloping in the forefront of the carving, while the skeletal horse with the skeletal rider is evident in the background. The writer contends that Durer clearly understood and internalized the images detailed in the text, which resulted in his poignant and accurate depiction, that continues to yield a powerful and eerie resonance to this day.
From the Paper
"In the print, three of the powerful riders on their white, red, and black horses gallop at the forefront of the work. The white horses' rider holds a bow and wears a medieval, peaked hat towards the background, the caped red horse's rider wields a sword, and nearest the foreground the black horse's rider is bareheaded, holding a scale. The skeletal horse with the skeletal man is evidently the pale horse's rider. The specificity of the artist illustrates that Durer knew the Biblical text's images quite intimately and wished to transcribe them in fairly accurate detail. However, the artist translates these images of war, pestilence, famine, and death into medieval terms of his own era-the warrior's crown of the white horse's rider is clearly of the artist's age, as is the garb of the second rider, and the small metal scales held by the third are similar to that of a medieval apothecary, used in weighing grain with weights."
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Aesthetics and Ethics, 2006.
Examines the aesthetic value of forged art and the ethics surrounding this issue.
2,392 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
When discussing the philosophy of art, the issue of forgeries is a standard component. Oftentimes this component includes the component of whether or not forgeries have any sort of aesthetic merit. A work of art, forged or not, could have some element of beauty, and therefore have some aesthetic value. This paper questions whether the knowledge that it is a forgery detracts from this value and whether the fact that a piece of art is a forgery immediately removes it from aesthetic consideration. The paper also questions in what ways forgeries and fakes are detrimental to the art market and whether fakes and forgeries offer any intrinsic benefits for the market.
Paper Outline:
Introduction
Aesthetics Defined
Ethics Defined
Does Forgery Affect the Aesthetic Value of a Piece of Visual Artwork?
Forgeries and Their Effect on the Art Market
Conclusion
References
From the Paper
"A forgery is typically created to attribute a piece of artwork to a person who did not create it, in hopes of making money. The primary fault with forgeries is that they not only misrepresent the piece of art's origin, but also misrepresent the achievement of the artist's performance (Dutton, 1979). It is not that the forgery artist's work is not worthy of aesthetic value, it indeed may be as in the case of van Meegeren, however the level of achievement must be adjusted for the individual challenges, or lack of challenges, that that particular artist faced in the creation of the forgery, to determine its value."
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History of Orientalism, 2006.
This in-depth paper examines the culture and history of eastern Islam, also known as Orientalism.
3,071 words (approx. 12.3 pages), 5 sources, MLA, $ 89.95
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Abstract
The writer of this paper defines the term Orientalism, which comes from the Latin word oriens, as the rising sun, which generally implies, 'the East.' This paper focuses on the culture, religion, art and history of Orientalism. This paper explores the European view of Islam throughout history. The writer explains that during the birth of Christianity and Islam there was a distinct difference between European Christian cultures and those of East and North Africa, which are detailed at length in this paper. During the Middle Ages the European Christians denounced the Islamic people as the enemies of Christendom, due to their lack of knowledge of Eastern culture. This paper discusses how the Enlightenment thinkers of the 18th century viewed the Eastern culture as being superior to that of the Christian west. This paper illustrates that Islamic societies were praised for their religious tolerance when compared with Christian west. This paper also delves into those who opposed the Orientalist culture, such as James Mill, who believed that Eastern civilizations were stagnant and corrupt and Karl Marx who believed that Eastern methods of production were static. Christian evangelists further maligned Eastern traditions as superstitious nonsense. This paper also examines the rich artistic history of the Oriental culture. Depictions of Islamic Moors were found in Medieval and Renaissance art, but it wasn't until the 19th century that Orientalism became recognized in the arts. This paper also details the outspoken views and opinions of political activist and author Edward Said.
Table of Contents:
Definition of Orientalism
History of Orientalism
Orientalism in the Arts
History of Orientalism in the Arts
Edward Said and Orientalism
References
From the Paper
"Photography was still in its infancy and did not allow for the capture of the sunlight, the colors and the mood in which a painter could. With the iconoclastic nature of Islam, and the forbidding of the depiction of the prophet Muhammad, there was little representational art in Islam. Most of their artwork was centered on pattern and design. For this reason, the Muslim world had very little visual record of their history, including the people and the cities that existed prior to modern photography. Today, still, the best visual record of exotic cities like Cairo or Damascus, prior to the advent of modern photography, exists in 19th century paintings by Europeans and Americans. In the mid to late 19th century, painters from every country in Europe and from across the oceans in America, came to the East."
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