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The Biography of an Artist, 2004.
An analysis of the importance of biography in the art of Henri Matisse and Pablo Picasso.
2,350 words (approx. 9.4 pages), 8 sources, MLA, $ 72.95
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Abstract
This paper contends that the biographical aspects of an artist provides one of the most important dimensions in the history and study of art and allows one to trace the stylistic development within an artist?s overall career. The paper discusses two specific artists who are generally viewed as masters of their craft, Pablo Picasso and Henri Matisse, both of whom greatly influenced the artistic world in which they lived and continue to do so in the present time.
From the Paper
"Early in life, doubt and dissatisfaction with contemporary artistic formulas enabled Picasso to discover that a search for beauty according to the standards in which he had been brought up was not the aim he wished to pursue. The brilliance of his talent in his youth and the ease with which he absorbed the work of other great contemporary artists could have tempted him to become satisfied with the success that came to him at last after years of poverty in Barcelona and Paris, but the strength of his powers of expression, coupled with an unusual degree of courage, brought a crisis which forced him to abandon the easy road to fame and plunge perilously into new forms of artistic creation."
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Tattoo Removal, 2004.
An analysis of tattooing and the various methods of tattoo removal.
2,145 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
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Abstract
This paper presents the history of tattooing. The paper describes evidence of tattooing throughout many cultures across the world. The paper explains modern-day tattooing, which is used primarily to denote gang or other group affiliations or just for body decoration. Since both these reasons are subject to changing tastes and circumstances, there has developed a demand for a reliable way to remove tattoos. These methods are explored in the paper.
From the Paper
"The history of tattooing is a long and varied one. ?A tattoo is a permanent mark or design made on the body when pigment is inserted into the dermal layer of the skin through ruptures in the skin's top layer.? (?How Tattoo Removal Works?, 2004). A more recent development in this area, however, is the issue of tattoo removal. Only recently have advances in technology made it possible to effectively remove a tattoo. The process of tattooing, which inserts ink deeply into the layers of the skin, has traditionally made it very difficult to get rid of a tattoo once it's been applied. Modern techniques for tattoo removal include; dermabrasion, salabrasion, excision (surgical removal) and laser removal. There are also less thorough methods for covering a tattoo such as scarification or tattoo modification. Currently, the most favoured method of tattoo removal is laser removal, as it leaves little scarring and is very effective, although multiple laser treatments are often required."
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Michelangelo and Pope Julius II, 2004.
This paper discusses the relationship of Michelangelo and Pope Julius II to demonstrate the nature of Catholic art during the Renaissance period.
1,180 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper explains that religious art during this period was an intensely social production and vision, a dialogue between religious leaders such as Pope Julius II and artistic producers such as Michelangelo. Popes commissioned artistic works and inspired, guided, and checked the artist?s individual vision. The author points out that Pope Julius II, who was as careful in planning as he was in his military achievements, enriched the landscape of Rome by adding many fine buildings to the city, including the Vatican Museum and art collection and the Sistine Chapel. The paper relates that the role of the artist was expanded rather than limited by the patronage and commissions of the papacy, and rather than embodying narrow religious ideals, Michelangelo and others were prodded to create works with expansive, complex renderings of Biblical figures as both human and divine in nature.
From the Paper
"Pope Julius II, often known as a kind of warrior pope because of his influence in political as well as spiritual affairs, even more renown to the ages for his tireless patronage of the arts. He is also called the savior of the papacy, because of his integrity, relative to his contemporaries, and his restoration of legitimacy to the church because of limiting some of its excesses?excesses, albeit not enough to stifle the Reformation later on. Also, it is unlikely that Julius would have, had he lived after the reformation, been able to commission such anthropomorphic and expansive works of religious art, some of which were designed to commemorate his own personal memories and accomplishments, such as the commissioning of the tomb that first drew Michelangelo to Rome."
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Peter Voulkos, 2005.
Biographical account of American clay sculptor Peter Voulkos who died in 2002.
858 words (approx. 3.4 pages), 4 sources, APA, $ 30.95
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Abstract
This paper provides biographical information on the life and artistic career of Peter Voulkos. The also paper looks at Voulkos's artistic style and explains how it capitalizes on the qualities of the clay itself. Furthermore, the paper describes some of the influences on Voulkos's art, analyzes some of his more famous sculptures, and explains the significance of his work to other sculptors.
From the Paper
"Peter Voulkos, a clay sculpturist who died in 2002, was important because he brought clay forward as an artistic medium in its own right. Until Voulkos demonstrated the art of clay, people tended to think of ?pottery? as either functional ware, a craft, or a tool for ?real? artists such as bronze sculptors. The movement he started came to be known as the American ?clay revolution.? (Chattopadhyay, 2001)"
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Nagapattinam, 2004.
Analyzes the philosophy and image behind this 12th Century statue of Buddha.
955 words (approx. 3.8 pages), 4 sources, APA, $ 33.95
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Abstract
The image, in bronze, of the standing Buddha Nagapattinam from the 12th century belies some of the common popular assumptions about Buddhist iconography that a contemporary Westerner might hold if he or she was unfamiliar with the history of the Buddhist tradition of images in Asiatic art. This paper discusses the Nagapattinam, which depicts not the enlightened Buddha, but a teaching Buddha marked for enlightenment. It examines the philosophy behind the creation of Buddha in this particular image and presents a description of the physical features of this statue.
From the Paper
"According to the scholar Jin Weinu, all ?Buddhist images? however, regardless of origin, usually ?display the thirty-two lakshanas and eighty notable physical characteristics of the Buddha,? as does the 12th century Bronze Nagapattinam statue noted specifically above, at the beginning of this essay. These thirty-two characteristic physical markers indicate that the figure, over the course of its life, sought to ?seek dignity, a singular superb ness, in order to embody all excellences and good fortune and virtue,? over the course of the Buddha?s specific life phase, or this specific Buddhist incarnation over the course of his many lives, even though the image might be of a pre-Enlightened part of the Buddha?s biography. (Weinu, 1999)"
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Rene Magritte, 2005.
A biographical overview of artist, Rene Magritte, and an analysis of his unique and sometimes erotic style.
1,425 words (approx. 5.7 pages), 4 sources, MLA, $ 47.95
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Abstract
This paper briefly provides a biographical analysis of Rene Magritte. It begins by looking at his childhood and education and proceeds to analyze his work. The style and texture used in his paintings are examined and explained. The paper also analyzes some specific paintings, such as ?The Origin of the World,? "The Eternal Facts," "Philosophy in the Boudoir," and "The Ocean".
From the Paper
"Still another very erotic work by Magritte is The Ocean, a black and white painting of a nude man by the seashore, and where there might have been a penis, instead there is an erect tiny nude woman, about the size of an erection that man that big would be expected to have. And yet another provocative erotic work is The titanic days, painted in 1928, showing the main nude body of a strong woman, who is pushing (it seems) a man away from her. The man is only about one-quarter complete, but his hand is on her right thigh, just inches from her public region."
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Norman Maclean's "A River Runs through It", 2004.
A look at the dominant theme in this book about art and the role it has in our lives.
992 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
This paper describes the theme in the book, "A River Runs through It", about art and its importance in our lives and the way the author, Norman Maclean, combines the sport of fly-fishing with this theme as a way of explaining what art means and how it differs from mere competence.
From the Paper
"Norman?s father who was a Presbyterian minister believed that art was ?one? way man could clearly understand God and His creation. He advocated creativity because for Norman?s father, art was the channel man used to communicate with God and to become a part of His wide universe. In short, it was not competence but mastery of art that helped man establish a direct link with the wider world around him and Art was man?s way of showing appreciation for God?s universe. This is the reason why Norman?s father tells him to create stories because he knows that this is one art form that will bring his son closer to God and nature."
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Religion in Art, 2004.
An analysis of Adorno?s negative theology and the religious dimension of art.
3,437 words (approx. 13.7 pages), 11 sources, MLA, $ 97.95
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Abstract
This paper argues that, while rejecting the embodying of religious meaning in art and artwork in the institutionalized sense of churches or other organized religions, Adorno identified and insisted upon a revelatory role for art itself in terms of its engagement with the human condition and human values. The paper states that Adorno was, in many ways, a writer and thinker profoundly influenced by religion.
From the Paper
"For the social and cultural critic and theorist Theodor Adorno (1903-69), art is integrated into the society that produces it, and cannot be considered separately from the economic, political and ideological circumstances of its creation. This position reflects the continuing influence of Marxist theoretical approaches to art which can be found underlying even Adorno?s most radical writings. However, Adorno tended to distance himself from a crude materialist or historical-contextual reading of art, focusing on a close reading of the work itself and claiming such thorough analysis from the inside would enable a reading of the work?s social meanings without cumbersome references to external contexts. Those social meanings, however, remained central to any accurate and meaningful understanding of the work, whether literary, musical, or visual in nature."
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Art Education in America.
An analysis of the demise of the art curriculum in America.
1,004 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper examines how, with the age of technology and efficiency at hand and the threat from countries like Japan surpassing American students in technical knowledge, Americans began placing more importance on science and math, and arts have been pushed to the back burner. It looks at how, coupled with budgets that are increasingly difficult to manage, this is a recipe for the demise of art education across America.
From the Paper
"The solution to the problem, according to Howie Schaffer, a spokesman for The Public Education Network, lies in the public and their refocusing on how important arts education truly is for American children. "For us, public pressure is the key ingredient in fixing schools," Shaffer states. (qtd. in Richard & Hoff) Until Americans realize that well-rounded students are critical to success later in life, the scenario will not change. Until Americans see that the creation and appreciation of art is fundamental to the human psyche, our schools will continue to spit out Internet savvy graduates who feel more comfortable communicating via e-mail and instant messages, rather than interacting face-to-face with other human beings."
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"Olive Trees with Yellow Sky and Sun", 2004.
An examination of Van Gogh's famous painting, "Olive Trees with Yellow Sky and Sun".
1,048 words (approx. 4.2 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper first provides a detailed description of the visuals in the painting and then provides an interpretation of what is seen. The writer also interprets some attributes of the painting in regard to the artist's personal life.
From the Paper
"The tendency towards a positive outlook in the face of difficult circumstances may be indicative of the enjoyment Van Gogh derived from nature at this time. Nature, the artist seems to say, can teach the viewer a variety of lessons. Adaptation is one of them. Like the olive trees, human beings have many difficulties to cope with in life. These difficulties however can be seen as symbolized by the simultaneously destructive and life-giving force of the sun. How this force manifests in life depends upon the adaptability of the individual."
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"Evidence, Truth and Order: A Means of Surveillance", 2005.
A review of John Tagg's article, "Evidence, Truth and Order: A Means of Surveillance", about the implications of photographic representations in law for artists and photography.
897 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
This paper discusses John Tagg's essay, in which Tagg expresses his concern about the danger that results from the impression that photography gives a realistic glimpse of life in an unvarnished and objective manner, when, in actuality, it merely transmits the vision and the limited perspective of the photographer. The paper then explains Tagg's point that this impression is particularly dangerous when a photograph of a crime is used as evidence in a court of law because of the extra forensic weight the visual impression may carry with the jury.
From the Paper
"Thus, the photographer is only a sensible human being. The nature of photography is at its essence just as mysterious as that of a painter?s inspiration in terms of personal selection of subject and moment. (Tagg 1988, p.111) The photograph?s reality may be taken for granted, taken as objective truth. But it is anything but?a photograph is a selection of an intensely subjective nature. It creates evidence not of happenstance or arbitrary gaze, but a focused and artistic choice. Even if the photograph takes pictures somewhat at random, or to show ?objectively? some truth or evidence for a legal as opposed to an artistic reason, the photographer is still making a conscious or an unconscious choice to focus on a particular aspect of human existence to the exclusion of other aspects of human existence."
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The Influence of Egyptian Art, 2005.
A look at the influence of Egyptian art on the 1920s development of ?Art Deco? and contemporary interior design today.
888 words (approx. 3.6 pages), 5 sources, MLA, $ 31.95
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Abstract
This paper explains how the triumph of art over nature, as exhibited in Egyptian art and design, influenced American art in the 1920s. The paper explains how this influence manifested itself in the form of Art Deco and continues to influence art today.
From the Paper
"If Greek sculpture attempted to create a realistic portrait of the human body during the Classical and Hellenistic periods of sculpture, Egyptian portraiture is reflected in the contrasting hieroglyphic-like portrayal of the human body in a stylized, rather than a naturalistic way. Rather than seeing what is natural as good and what is unnatural as less artistic, however, it is important instead to consider the function and purpose of this style of Egyptian design, as well as merely compare its lack of naturalness to other forms of art of the period. Egyptian art?s unnatural pairing of human and animal parts was reflective of its religious system. Its highly rigid interior home design structures reflected the focus of the Egyptian world upon the life of the dead, rather than the relatively transient existence of humans on earth. (Pile, 2004) Just as in Egyptian cosmology, God in the form of the sun died and was constantly reborn again and so were humans within their homes and tombs. The sharp lines of human depiction and sharp lines of furniture and spatial design mirrored the sharp lines of the pyramids and tombs."
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