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Beauty of Art, 2005.
A brief discussion about how beauty is in the eye of the beholder, especially in relation to art.
854 words (approx. 3.4 pages), 4 sources, MLA, $ 30.95
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Abstract
This paper is a short discussion about the beauty of art and the abstract nature of beauty of art. Also looks at the history of art appreciation.
From the Paper
"Art is both perceptual and psychological, thus the "power of aesthetic perception is the interaction between the object and the beholder" (Chang Pp). Art creates emotion and so creates response. "The experimental aesthetic value of even the most successful art pieces is relative with changes in time and conditions of the society in which it resides" (Chang Pp). Because art is psychological, it involves both the conscious and unconscious processes of the beholder (Chang pp). This awareness and receptivity of a piece of art is referred to as the sensitivity of the beholder (Chang Pp). Art represents the past realities, as well as functioning as a predictor of societal evolution (Chang Pp)."
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Oriental Influence on Western Fashion.
This paper discusses the history of oriental fashion and its influence on Western fashion.
5,210 words (approx. 20.8 pages), 29 sources, MLA, $ 129.95
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Abstract
This paper explains that clothing is rarely recognized as a political force; yet fashion and design may be one of the most internationally regarded forms of trade, communication, and influence among countries worldwide. The author points out that the Orient has been a wellspring of fashion influence for both the Eastern and Western world since ancient times; the Edo period in Japan was the beginning of several Japanese styles that remain popularized by Western culture fashions for centuries, including the "Kamishimo," worn by both males and females of the Samurai warrior class during special occasions featured stiff shoulder garments that crossed the shoulders and chest, elements vital to the Samurai image held by Hollywood and other popular culture creations in the West today. The paper relates that today very young Japanese girls, as seen in exported Japanese movies, manga comic books, and anime television, are setting global fashion trends, including miniskirts, short pants flared out at the bottom, and loose, baggy socks deliberately allowed to lap over the tops of their shoes.
From the Paper
"Fashion evolves as quickly as any other fast-paced element of society, never becoming stagnant. Some people are critical of the movement and growth of the industry, claiming it encourages people to become materialistic, rushing at every opportunity to spend more and more money on unnecessary items. However, this change and growth is precisely what makes fashion a true form of human expression. Diversity, experimentation, expression, and metamorphosis are what define human culture and fashion culture. As cultures touch, fashions exchange and spread. The in-look for the young rebels is eventually passed on to the older generations. The styles of one region are sent to another. "Young people, enjoy the diversity that changing fashion can apparently provide, seeing the constant change as a way to satisfy their desire to experience 'new' and 'interesting' things. Note too though that fashion can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of Mainland China." "
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Vassily Kandinsky, 2005.
A look at why Vassily Kandinsky qualifies as a leading figure of the German Expressionist movement.
1,373 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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Abstract
This paper explains why the author believes that artist Vassily Kandinsky, despite being Russian by birth and nationality, deserves to be considered a true German Expressionist.
From the Paper
"Kandinsky lived and painted in Munich at a time when German society, and in fact the world, was greatly changing, during the run-up to World War I. Even before that war, German Expressionist painters had endeavored, based on their new theories of painting, which sought to capture within art, elements of real life, as well as abstractness and spirituality , to now paint not so much within a vacuum of pure art, but rather, to instead artistically express (by allowing their essences to flow, from within the artist, onto a canvas) influences derived from nature; music; architecture; sculpture, and from spirituality and philosophy, within their art as well. As Kandinsky's fellow German Expressionist Karl Jakob Hirsch stated: 'This is the beginning! In our hearts we were ready to throw everything away-the old fashioned ideas, the junk!' "
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Herb Ritts's Photography, 2005.
A look at how Herb Ritts's art of celebrity photography reflects modern times.
923 words (approx. 3.7 pages), 3 sources, MLA, $ 32.95
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Abstract
This paper examines how the contemporary photographer of celebrities, Herb Ritts, unquestionably took the medium of celebrity, or what is often called promotional or vanity photography, and rendered it into an art form.
From the Paper
"Another popular work was that of Ritts' photograph of Jack Nicholson in costume as the joker for the "Batman films." Nicholson was in costume, but the photograph seemed very intimate because it focused on Nicholson's eyes, giving the viewer a sense of the man 'behind the mask' and makeup. The 2002 BBC obituary of Ritts also showed more sensitive works, such as the Vanity Fair cover Ritts photographed, where Warren Beatty, the notorious Hollywood womanizer cradling the pregnant belly of his new wife Annette Benning."
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"After the Bath", 2005.
This paper discusses in detail Edgar Degas's "After the Bath," with respect to his stylistic choices.
1,748 words (approx. 7.0 pages), 7 sources, MLA, $ 56.95
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Abstract
This paper discusses the subject matter and analyzes formal elements such as composition, line, texture, mass, and volume. It questions how Degas used color and light in this painting; how he organized design principles of balance, rhythm, and proportion; and whether this painting is telling a story or just simply a snippet into the reality of the subject like a photograph? Other questions include what symbolism and imagery is evident in the painting, how effectively the artist used the materials and formal elements to create a particular impression or illustrate a theme, whether Degas was successful, and what did this painting mean to him?
From the Paper
"I chose a work by Degas because I believe that for his time, he was an innovative thinker. Many art experts place his work amongst that of the Impressionists. Like some, I believe he was at the tail end of this movement, focused less on light and subdued choice of color and focused more on his subject's movement. This is not to say that he did not use light and color to convey his message. In fact Anthea Callen writes: "Degas' culture made it inevitable that he represent masculine desire and anxieties about masculine identity evoked by such desire through an apparently detached masculine scrutiny of the female body" (6). It is because of his blatant obsessions that such passion can be revealed to the viewer. His intensity is apparent throughout his depth of work and his critical way of pushing the envelope reflects his pursuit of "the great Neoclassicist's linear perfection" (Hartt, 850). According to the art historian Hartt, "Degas defined the goal of his own style succinctly as 'bewitching the truth'" (851)."
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The Future of Art, 2004.
An analysis of the future of artistic styles through a review of the history of art.
2,831 words (approx. 11.3 pages), 12 sources, MLA, $ 84.95
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Abstract
This paper discusses the history of art from the Renaissance period through to post-modernism in an attempt to determine the future of art. The paper contends that changes in artistic style, subject, composition, technique, and movement are mainly a result of changes in the social and economic environment in which the artist lives.
From the Paper
"The Renaissance heralded in an entirely new tradition of art form during the 14th and 15th centuries, with a wide variety of painters, poets, writers and architects that literally and figuratively saw the world in a different light from the dark and dismal Middle Ages. Humanism developed in Italy in the field of literature, once again honoring the Greek and Latin classics for their scholarship and moral ethics. The humanists emphasized an enormous confidence in the power of reason as a source to understand human nature and its place in the world's order (Art: A World History, 215). The Reformation, a religious revolution with an emphasis on individual faith, was promoted by individuals or "protestors" such as Martin Luther, Ulrich Zwingli, John Calvin and John Knox. Alarmed at the corruption of the Catholic Church, they wanted to return Christianity back to its earlier simplicity and biblical foundation."
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Pablo Picasso, 2004.
A biographical essay on the life and works of Pablo Picasso.
1,170 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
This paper discusses the life and works of the most famous Spanish painter and sculptor, Pablo Picasso. The paper examines the development of his artistic style and claims that almost all aspects of his creative work are based on sensation and desire. The paper explores how Picasso transformed one of the currents of modern art.
From the Paper
"Pablo Picasso a Spanish painter and sculptor, is being considered as one of the greatest artists of the twentieth century. (Pablo Picasso: Estate of Pablo Picasso / Artists Rights Society) Picasso had been famous as no artist had been ever, being a pioneer in every discipline he chose, a master and a protean monster, having his influence on every art movement during his time. Not even Michelangelo could be considered as famous as Picasso during his own lifetime. And no one will ever be again as famous as Picasso was. (Artists and Entertainers: Pablo Picasso) He was born in Malaga on October 25, in the year 1881 as the son of Jose Ruiz Blasco, who was an art teacher, and Maria Picasso Lopez. Picasso created more than 20,000 works during his lifetime. Picasso was a genius who could be understood from his early years itself, that by the age of 10 he had made his first paintings. (Pablo Picasso: Estate of Pablo Picasso / Artists Rights Society)"
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The "Pieta".
This paper explores Michelangelo's "The Pieta" and the relationship of Mary to the Catholic faith.
1,060 words (approx. 4.2 pages), 2 sources, APA, $ 37.95
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Abstract
This paper explains that Michelangelo had a remarkable understanding of Mary; in his sculpture, "The Pieta," he shows Mary, eternally young, cradling the body of her dead son, Jesus. The author points out that Michelangelo never intended to create a literal interpretation, but rather to show Mary's transcendence and her ultimate understanding that, without her joy and her loss, the birth and death of her son, there would be no salvation. The paper concludes that one of the biggest lessons of Mary, as depicted in "The Pieta," is that real faith means still believing when reason tells an individual that all hope is gone.
From the Paper
"Mary's experience is almost incomprehensible. She becomes pregnant in a way completely unintelligible to anyone, but an angel tells her she carries the Son of God -- while she is alone, with no witnesses -- and she believes it. Presumably she has to go to her husband-to-be, Joseph, to tell him she is pregnant -- but still a virgin, never having laid with any man. Apparently, Joseph, demonstrating great faith, also believes her. Then she has to raise this wonderful child who dazzles the rabbis in the temple, knowing that God will take Him back. When he does, Jesus dies a terrible, drawn-out and agonizing death. After his death, we see in "The Pieta" that Mary cradles him in her arms, across her lap."
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Warhol and Koons, 2004.
An analysis of how the work of Andy Warhol and Jeff Koons refers to consumerism and a consumer society.
3,246 words (approx. 13.0 pages), 7 sources, MLA, $ 93.95
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Abstract
This paper discusses the works of artists Andy Warhol and Jeff Koons. The paper contends that art critics continue to debate Warhol's legacy, life, works, and the value of the artists whom he spawned, such as Jeff Koons. The paper claims that, viewed in their totality, both artists' lives and creations give profound evidence of the ability to subvert the totalizing media gaze of advertising and sentimentality with self-conscious reproduction of images, media, and subjects.
From the Paper
"Andy Warhol has grown so ubiquitous as a presence in modern art that it is easy to forget that once a can of tomato soup was merely a can of tomato soup in the eyes of a world that consumed such advertising with a spirit absent of irony. However, before Andy Warhol came to his fullest flourishing as an artist in the Pop Art milieu, if one saw a can of tomato soup on a commercial aisle, one would likely, simply see a product label, not recall Warhol's famous, repetitive image of the soup in one's mind. By elevating a depicted can to the level of art, by presenting a brand label, perfectly repeated as art, a consumer savvy to Warhol was able to witness a message beyond that of product identification, or to buy a particular kind of Campbell's soup-repetition becomes commentary on the very media of advertising itself, that was attempting to induce a consumer to become more attracted to one brand of soup than another brand of similarly tasting soup, regardless of quality or flavor."
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Catalan Modernist Artists, 2004.
An analysis of the French influence on Catalan modernist artists.
3,353 words (approx. 13.4 pages), 12 sources, MLA, $ 95.95
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Abstract
This paper focuses on the modernist or "modernista" movement of the early 20th century and examines how French culture and artists of the time influenced these artists. The paper also discusses how these influences bled through to their own cultural identity and expression in Spain.
From the Paper
"It is difficult to imagine the art world without a French influence. It seems that throughout history much of art has been based out of French culture and social ideas. The central location for such artistic creation has primarily been that of Paris, France. It seems that many artists have journeyed there for education or intellectual freedom of expression. It is a special place, a place that thrives on the energy art represents to the world. Even today, it is the place to be an artist. There is a certain allure and safety as if an artist's identity automatically fits with Paris. Maybe the draw can be attributed too much of its pulse is generated by art and the museums there that house art. This pulse breeds a certain rhythm artistic people can relate to and feel comfort. This in not to say that art cannot be produced in other cities. It just seems that many artistic movements have found their beginnings in this city. Still I think the reason that many movements thrive elsewhere is because artists take their experiences home with them. The cultural influence carries over to their new environment."
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Antonio Gaudi, 2004.
An analysis of Spanish architect, Antonio Gaudi, and his connections to his birthplace, Barcelona.
4,010 words (approx. 16.0 pages), 6 sources, MLA, $ 108.95
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Abstract
This paper discusses Barcelona's famous architect, Antonio Gaudi. The intrinsic relationship between the city and the architect is explored in the paper. The paper presents a brief biography of Gaudi and examines the general characteristics, influences, and styles of his work and creations. The paper describes three of Gaudi's many projects in Barcelona: the Sacred Family (La Sacrada Familia), La Pedrera (Casa Mila), and the Guell Park.
From the Paper
"As some who has visited Barcelona, one would perhaps always remember the historical area around Los Ramblas, the old Gothic Cathedral or the Olympic Stadium, as well as the special charm of the city, proud in its Catalan spirit, but there is little chance that something is likely to impress you more than the presence of Antoni Gaudi in the city, his modernist creations, his dedication to the city and, even more so, the intrinsic relationship between the city and the architect. Indeed, Gaudi has only worked and created in Barcelona and the city represented to Gaudi something that Aix-en Provence was for another artistic genius, Cezanne : place of inspiration and artistic evolution, but probably also the only place where the interior effervescence could be properly exploited."
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Salvador Dali, 2004.
An analysis of the life and works of world-famous Spanish artist, Salvador Dali.
2,286 words (approx. 9.1 pages), 3 sources, MLA, $ 70.95
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Abstract
This paper discusses the life and works of one of the most important artists in the 20th century, Salvador Dali. The paper examines the influence Dali had in the art world. The paper contends that his work was highly influenced by the Surrealist and Dada movements, and his spectacular appearance, with a large waxed moustache and big eyes, helped him become even more memorable to the world. The paper explores Dali's theories on art and science that changed the way many people viewed art and artistic pursuit.
From the Paper
"Salvador Dali was born in Figueres, Spain, located in the Catalonia district, on May 11, 1904. He had a younger sister, and his father, also called Salvador, was a notary. He attended a private school operated by the Brothers of the Marist Order in his hometown, and was an average student. In 1916, on vacation, he viewed his first modern paintings, and remembered the experience, because he began to study drawing with a teacher in Figueres after he returned home. By 1918, he enjoyed two small exhibitions of his work in his hometown, and began to explore other modern painting techniques such as impressionism and pointillism. During this time, Dali also dabbled in writing. He published an article in a college magazine and wrote poetry. This indicates how multi-faceted the artist was. This would show up later in his career when he continued to experiment with many different art forms, and even tried his hand at filmmaking. He also began to publish an unconventional newspaper for his fans later in his life."
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