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Chartres' "Statue of the Standing Virgin and Child", 2006.
A description and analysis of the "Statue of the Standing Virgin and Child".
1,325 words (approx. 5.3 pages), 2 sources, APA, $ 44.95
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Abstract
This paper presents a description of the Chartres statue "Statue of the Standing Virgin and Child", explaining that this work of art, in comparison with other statues of the Virgin Mary and her child, is more than a work of art dedicated to the Virgin in that it is also a realization of the humanity and humility of the woman who was chosen to be the mother of Christ.
From the Paper
"There is a playful interchange, dealing no doubt with the small apple. Bur, the child seems to be touching it playfully, but still looking has his mother and the fruit. Yet, if the mother is thought to look aristocratic, the Child is just a child at this point. There seems to be no "holiness" about him. We see, in other statues and paintings, that there is usually an aura or halo that surrounds the heads of Jesus and his Mother. Here, the ivory statue seems to have been posed by a young aristocratic woman. This is totally different from the warmth that seems to exude from the way the Chartres Virgin stands, the way her folds drape loosely around her body, compared with the more Romanesque carefully pleated folds on the ivory statue. Here "she supports the infant Christ in the crook of her left arm while the voluminous sweeping folds about her body direct the eye to Him and lend visual support....This attribute adds the connotation that the Virgin is the new Eve who has come to redeem the sins of the old Eve.." "
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The Late Renaissance Artist Raphael, 2005.
This paper discusses the life and work of the late Renaissance artist Raphael, especially his Sistine Madonna.
2,225 words (approx. 8.9 pages), 6 sources, MLA, $ 69.95
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Abstract
This paper explains that, in his very short life, Raphael completed a almost countless number of works of art, which were diverse and exquisite because he was able to easily draw in any style. The author points out that, in the painting called "Sistine Madonna", Raphael established a balance between the exuberant naturalism, which was heralded in the early Renaissance, and the spiritual idealism, which had been prevalent in the Dark Ages. The paper describes in detail the "Sistine Madonna" and compares it with several other Madonnas drawn by Raphael.
From the Paper
"He used the newly developed techniques of mathematical perspective that gives the painting the illusion of real space through his intense study of nature. The composition is geometrical, as was Raphael's signature, shaped in a rhomboid, with the head of the Madonna at the apex and St. Sixtus and St. Barbara at the sides with the two cherubs at the base. The Madonna is elevated above the two saints that also form a triangle, between the three figures heads. At their feet, St. Sixtus is standing lower than where St. Barbara is kneeling, so the triangular shape falls to the left and produces a very appealing movement to the left, slowly."
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Walker Evans, 2005.
Examines objectivity and subjectivity in the works of Depression photographer, Walker Evans.
822 words (approx. 3.3 pages), 4 sources, MLA, $ 29.95
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Abstract
American photographer Walker Evans' success was that his images appear to be objective - they are the photographer's evaluations/interpretations of the world before his eye. The paper points out the paradoxical nature of this argument--that Evans' objective, realistic, "documentary" style is his own subjectivity. The paper looks at the context within which Evans was working -- specifically that of the 1930s Farm Security Administration. The paper shows that the images Evans made for "Let Us Now Praise Famous Men" (which were included in the FSA file of photographs) serve as the culmination of Evans' talents, as well the utmost realistic portrayal of the conditions that the American tenant-farmer was subject to in the post-Depression 1930s.
From the Paper
"A man in love with Americana, Evans was a sensualist, a junk collector, a connoisseur, a wit, a perpetual weekend guest. His friendships with Hart Crane, Lincoln Kirstein, and James Agee drew him into the promiscuous New York literary scene in the 1930s, '40s, and '50s, and his fierce independence from contemporaries such as Ansel Adams and Margaret Bourke-White brought him notoriety among photographers. Both charismatic and seductively aloof, Evans had a spy's genius for capturing the telling detail."
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Textile Conservation, 2006.
An overview of the processes and techniques used in textile conservation.
1,197 words (approx. 4.8 pages), 8 sources, MLA, $ 41.95
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Abstract
This paper explains the techniques used in the cleaning, restoration and conservation of textiles. The paper also explains that these processes are complex and highly specialized and provides a brief description of the skills required of a competent conservator.
From the Paper
"It is an obvious point to make, but worth underlining: keep all vulnerable textiles out of the glare of sunlight and do not expose them to the effects of damp or central heating. A change of heart has affected the business of textile conservation in recent years. Where full reconstruction was once essential for a piece to make a top price, these days buyers may prefer to see the piece in its current condition and know what exists of the original workmanship. Faded colors, blemishes and flaws can be acceptable and even welcome evidence of antiquity. Another reason for caution is that inappropriate work may adversely affect an object's long?term preservation. textile by renewing missing or worn areas could do more harm than good. This can be avoided in a museum when the item is needed only for display in controlled conditions, but the problem demands sensitive compromise when the piece is going back into the home to be used."
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"Immediate Family", 2005.
This paper discusses the issue of exploitation in Sally Mann's collection of photographs "Immediate Family", which portrays her three children in ways that are simultaneously provocative and comforting, disturbing and familiar.
1,560 words (approx. 6.2 pages), 5 sources, MLA, $ 51.95
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Abstract
This paper explains that study of Mann's photography "Immediate Family" reveals an exhibitionist treatment of her subjects, which is publicly revealing of the exceptionally private. However, this is not necessarily a condemnation, because a significant portion of artistic photography is driven by the desire to reproduce the normal in a light that is extraordinary, shocking or taboo. The author states that there is nothing unethical in Mann's treatment of her subjects. Mann's pictures are directed at a group without coherent ethics, a complex group of spectators. The paper concludes that the scope of her collection is a testimony to her passion for the children, for the land they inhabit and for the thin slice of time in which the world is their playground.
From the Paper
"In "Immediate Family", Mann revisits the myth of beautiful, innocent youth and shatters it. Some of the pictures speak to the naivete of children: Virginia sleeping on the porch with a crocodile approaching behind her, Jessie smiling in a tutu next to a freshly-shot deer in the bed of a pickup truck. Yet any parent worth their salt will have seen what is portrayed in "The Wet Bed", or "Emmett's Bloody Nose". Many pictures show the children covered in dirt, caked in baking flour, spattered with leaves and garden rubble. In a particularly impressive shot, "He is Very Sick", Jessie and Emmett lounge in perfect boredom next to the bed of a dying man. Their faces beg for their parents to take them home, to stop subjecting them to the misery of death."
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Orcagna's "The Triumph of Death", 2006.
An analysis of the fresco, "The Triumph of Death" by artist Andrea di Cione Arcangelo.
2,390 words (approx. 9.6 pages), 10 sources, MLA, $ 73.95
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Abstract
This paper describes the remaining pieces of the fresco "The Triumph of Death", painted by Andrea di Cione Arcangelo. The paper explains that the subject of the fresco is the effect of the great bubonic plague that decimated the population of Europe during the 1300s. The paper also explains that it is likely that Adrea di Cione Arcangelo, also known as Orcagna, was not the only artist who worked on "The Triumph of Death", as it was common in that era for several artists to work together to complete a work of art.
From the Paper
"Given the state of the civilized world right after the Plague, it is no wonder there is such great confusion about whether Andrea Orcagna actually painted the "Triumph of Death". We have to remember that even in days of the Renaissance to come that a master would do the original mock-up or design for a painting but his apprentices would do the actual painting itself except for a few special touches. If one painter worked on one painting by himself in the early Gothic and before, it is possible that the death of so many apprentices and masters during the Plague forced those painters and other artists alive after the great destruction, that everybody worked on everything together so they could get it done."
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?Wedding Portrait? and ?Merode Altarpiece? Comparison, 2006.
A comparative analysis of Jan Van Eyck's "Wedding Portrait" and Robert Campin's "Merode Altarpiece" .
804 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
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Abstract
This paper examines the similarities and differences between Jan Van Eyck's, "The Arnolfini Marriage," ("Wedding Portrait") and Robert Campin's, "Merode Altarpiece", both Flemish artists who were among the most important painters in the Early Renaissance (North) period. It looks at how both are naturalistic oil paintings with religious undertones and both are portraits. It also discusses how, although the paintings are similar in many ways, there are also several differences.
From the Paper
"For example, in Van Eyck's painting, a single candle is burning, even though it is daylight. This has been interpreted as symbolic of God's all-seeing eye, while some believe it is a bridal candle. In addition, there is an image of St. Margaret, the patron saint of childbirth carved on the back of a chair. The ornate mirror on the back wall shows the artist himself, as well as a second man, who may have been another witness to the ceremony. A small dog stands between the couple in the foreground, symbolizing faithfulness and love, and on the window ledge is a bowl of fruit, symbolizing either fertility, or the fall from Eden."
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Bangladesh, 2006.
A cultural analysis of Bangladesh.
6,334 words (approx. 25.3 pages), 62 sources, MLA, $ 147.95
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Abstract
This paper examines the history and ethnicity of Bangladesh whose inhabitants are Bengalis, who are largely descended from Indo-Aryans who began to migrate into the country from the west thousands of years ago. In particular, it focuses on the art and literature of the region.
Outline
Current Bangladesh Ethnicity
Bangladesh History
Political Dynamics in Ancient Bengal (326 B.C. to 1204 A.D.)
Muslim Revolution in Medieval Bengal (1204-1757)
Imperial British Rule in Bangladesh (1757-1947)
The Road to Pakistan
Current Bengali Culture
Bengalese Culture and the Primacy of the Individual
Bengalese Language
Bengalese Writings as a Reflection of the National Character of Bangladesh
The National Temperament of Bangladesh as Typified Through its Legal Documents
Bangladesh National Character as Revealed Through its Literature
Bengali Poetry
Bengali Prose
Conclusion
From the Paper
"Ancient Bangladesh also witnessed the flowering of temple, stupa and monastic architecture as well as Buddhist art and sculpture. There was discernible influence of the Pala art of Bengal on Javanese art. There was a close affinity between the scripts used on certain Javanese sculptures and proto-Bengali alphabet. A group of temples in Burma were built on the model of Bangladeshi temples. The architecture and iconographic ideas of Bengal inspired architects, sculptors and artists in Cambodia and the Indonesian archipelago. The influence of Pala art in Bengal could be easily traced in Nepalese and Tibetan paintings, as well as in Tang Art of China."
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Man Ray and Sally Mann, 2006.
A comparison of the twentieth century photographers Man Ray and Sally Mann.
1,102 words (approx. 4.4 pages), 5 sources, APA, $ 38.95
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Abstract
Although separated by about seven decades, this paper explains that Man Ray and Sally Mann are both 20th century photographers whose work has been preoccupied with surrealist imagery. It looks at how both artists have gone against the grain of popular styles, defying trends in their individual ways. Both were concerned with romanticism and both strove to capture an altered reality in their work. It concludes that the absurdity of fashion and the disembodied female form held Ray's interest, while for Mann, the absurdity of childhood and parenting occupies her stills.
From the Paper
"Early in his career as an artistic pioneer in a variety of media, Man Ray was a founder of the Dadaist Movement of New York with Marcel Duchamp and Francis Picabia. [1] However, some of his most interesting work was done during his time as a fashion photographer for the great design houses of Paris. For Ray, the world of fashion was attractive because of its strange metaphors: reality vs. fantasy, and the thin line that holds them apart. Ray's style was couched in his ideas of the unreality of fashion, yet it stood in stark visual contrast to the surrealist aesthetic of the time, which also liked to challenge the "reality" of standard fashion."
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Symbolic Communication, 2006.
A look at symbolic communication in art.
1,702 words (approx. 6.8 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper describes the emergence of symbolic communication in art and how it rejected the realism of past generations and focused on more mysterious meanings that were open to interpretation.
From the Paper
"When artists began to communicate to their viewers symbolically through symbols, it changed how art was perceived. It placed art in the same world as literature because it had more meaning that just a simple piece of art. With deeper meaning, often times comes added respect. This gave artists the platform to comment on issues in the world, as well as to express their opinions on them. Symbolic communication in art was an important development because it gave the artists a voice with which to speak directly to their audience. Of course, it was all left up to the viewer's interpretation."
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A History of Christianity, 2005.
This paper presents the history of Christianity, emphasizing art history, in a thumbnail sketch of each period.
3,740 words (approx. 15.0 pages), 6 sources, APA, $ 103.95
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Abstract
This paper explains that Christian art, evolving along with the church, began in the Near East, which was a vast religious and cultural melting pot where all the competing faiths, including Judaism, Christianity, Gnosticism and many others, tended to influence each other. The author points out that the oldest sizeable and coherent body of Christian art, which can be traced to no earlier than 200 AD, is the painted murals in the Roman catacombs and the underground burial places of the Christians. The paper relates that the halo around Jesus' head stems from pagan artists, who used a halo, usually of a gold color, to mark the chief of men and women in their pictures, and from the Romans, who associated it with the cult of light as a special gift from God. Chart. List of illustrations but no illustrations.
Table of Contents
The Early Christian Church - The Jews and the Greeks
Byzantine Art
The Christian Empire
Nuns, Monks, and Priests
Saints and Martyrs
The Virgin Mary
The Halo
The Conversion of the Northern Tribes
The Celts
The English
The Saxons
The Holy Roman Emperor
East Rome
Church of St. Sophia
The Icons, the Iconostasis, and Iconoclasm
Icons
Iconostasis
Iconoclasm
The Mystics
The Effect of Islam
A Comparison of Christianity East and West
Early Christian vs. Byzantine Art
Western Society in the Middle Ages
Popes
Society and Religion
Hell and Purgatory
Gothic Cathedrals and Stain Glass Windows
The Renaissance
Exploration
The Reformation
The Modern Age
From the Paper
"The first celibates in the early Christian church were women who lived lives of chastity and cleaned church buildings. These women also helped tend the sick. Many spiritually oriented celibate males started as hermits but eventually these men grouped together, elected an abbot, and agreed to abide by a set of rules. These first nuns and monks were called Benedictines. Priests were allowed to marry in the early church but the idea of a celibate priesthood was raised as early as 324 AD (Council of Nicene) but this was unenforceable. In the early church, a man could marry before he became a priest and still become a priest. He could not marry if he became a priest before marrying. The ideal of the totally celibate priesthood was not enforceable until the 11th Century. A man who wanted to become a bishop was not allowed to be married.
In the Eastern Orthodox Catholic Church, priests still are allowed to marry before taking final vows."
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Andy Warhol?s ?Marilyn?, 2006.
A description and analysis of Andy Warhol's "Marilyn" art pieces.
2,004 words (approx. 8.0 pages), 3 sources, MLA, $ 63.95
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Abstract
This paper describes the Andy Warhol's images of Marilyn Monroe, displayed in his 1962 art exhibit. The paper explains the techniques and processes Warhol used and the message about society he tried to impart. The paper points out that the Marilyn images are a comment on the commercial aspect of art as well as the willingness of the public to buy into escapism.
From the Paper
"There is controversy about exactly which image Warhol used to create the final work. The one that is widely accepted to be the source work, may be from the same photo session, but Warhol may have used a different shot. This is unknown. The image Warhol silkscreened is another pose, a new facial expression and different lighting. The process, however, is the determing mechanism of the final form of the work. His working method is well known. He chose a photograph, cropped it as necessary, then ordered a silkscreen in a specified size. Variations occurred when screening the reproduciton onto the canvas.
The artistry lies in the control of the density of the paint. In this way he was able to vary the black images between faint and darkly saturated. At this time, he elaborated the presentation of the photographic material, transforming it according to what he wanted the finished work to say. This method created an initial shock in the finished work and is the essence of its lasting significance."
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