| Papers [481-492] of 1926 :: [Page 41 of 161] | | Go to page : <— 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 —> | |
|
|
Albrecht Durer, Raphael, and Bronzino, 2004.
An examination of the works of Albrecht Durer, Raphael, and Bronzino.
1,795 words (approx. 7.2 pages), 6 sources, MLA, $ 57.95
»
Click here to show/hide summary
Abstract
This paper examines how, between the years 1495 and 1538, following the Byzantine/Gothic periods, a powerful new vitality was stirring among the great thinkers and artists, which eventually brought about significant and beneficial changes in the world of art. It looks at how, at the threshold of the modern world, the artist came into his own and successfully claimed his work as being among the fine arts of man created during the Renaissance period. In particular, it explores how, out of the many men who created this epoch of magnificence in artistic expression, three individuals are of great importance: Albrecht Durer (1471-1528); Raphael (1483-1520); and Bronzino (1503-1572). It examines their lives and reviews some of their most famous pieces of art.
From the Paper
"As an artist, Albrecht Durer became the first northerner (being from Germany) to travel to Italy for the prime reason of studying Italian art and its underlying theories. Although Durer did not always succeed in fusing his own native German style with the Italian manner, he was the first northern artist to fully understand the basic aims of the southern Renaissance. His artistic point of view had much to do with his feeling for the form-creating possibilities of line which enabled him to create a body of work in woodcut, engraving and painting. While the art of the Renaissance Period in Italy expressed the monumental grandeur and majesty of figures, color and light, Durer united the northern sense of minute realism with the Italian tradition of balanced forms, massive and simple."
| |
|
Italian Renaissance and Artists, 2004.
An examination of the influence that Leonardo da Vinci, Michelangelo, and Raphael had on the European culture during the Renaissance.
2,508 words (approx. 10.0 pages), 9 sources, MLA, $ 76.95
»
Click here to show/hide summary
Abstract
Renaissance (?Rebirth?) refers to the period after the Middle Ages when a series of dynamic intellectual, cultural, and artistic movements, from the 14th to 16th century, catapulted Europe towards rapid development, leading to the Age of Enlightenment, the Industrial Revolution and modern times. During this rich period of exciting developments in arts, sciences, and politics, Italy was the major catalyst and became the cultural leader of Europe. It also produced several outstanding artists, such as Leonardo da Vinci, Michelangelo, and Raphael, who changed the face of European art forever and are worthy representatives of the Renaissance era. This paper is about the Italian Renaissance and the impact of the three great artists on European culture.
Outline
Background
Italian Renaissance and its Emphasis on Art
Leonardo da Vinci (1452-1519)
Michelangelo Buonarroti (1475-1564)
Raphael (1483-1520)
Conclusion
From the Paper
"The period following the eclipse of the Roman Empire around 500 AD until the start of the ?Renaissance? at the start of the 14th century is known in history as the Middle Ages of Europe. The period saw the rise of Christianity and the power of the Church that became a major influence in culture as well as politics. The Christian doctrine focused on salvation and the life hereafter and de-emphasized the worldly life and possessions. The period also saw the rise and spread of Islam, although most of Europe remained under the Byzantine Empire and a fragmented West. Italy?s cities and towns in general became largely depopulated and the country, as a whole, became a rural society after the fall of the Roman Empire. This situation lasted until the 11th-12th century when Italy?s strategic location on the trade routes between Western Europe and the Muslim world and Asia helped revive commercial and trade activity in the region."
| |
|
The Artistic Appeal of the French Riviera, 2004.
Explores the attraction of the French Riviera to artists of different types, beginning with prehistoric cave drawings.
2,499 words (approx. 10.0 pages), 6 sources, MLA, $ 75.95
»
Click here to show/hide summary
Abstract
This paper examines the climatic, geographic, cultural, and social attraction of the French Riviera to artists. The paper traces the appeal of the Riviera to artists, beginning with prehistoric times and the rock engravings of that era and concluding in the early 20th century, with a look at the film, "And God Made Women".
From the Paper
"It is not difficult to understand the physical allure, and doubtless that is part of what drew the artists, beginning in earnest with the Impressionists. The Impressionists, it must be noted, were the rebellious artists of their day, the avant-garde. They overthrew the classical expectations of realistic art to, as their collective appellation implies, paint their impressions of things. Most of them were devoted to painting in ?plein air,? or outside. That was, needless to say, more easily accomplished where the air was warm and full of sea breezes so that in winter it was at least possible to be outside in the sun, in spring and fall it was extremely pleasant, and even in midsummer it was not too oppressive."
| |
|
Cubism and Sculpture, 2004.
A discussion of the artistic style and movement known as Cubism.
2,028 words (approx. 8.1 pages), 22 sources, APA, $ 64.95
»
Click here to show/hide summary
Abstract
This paper explains how Cubist painters and sculptors rejected many of the formally accepted elements of art in favor of ambiguous and indeterminate representations of art. The paper also describes the unique characteristics of Cubism and takes a look at the importance of the Cubist movement, its influence on modern art, the philosophy behind the movement, and some of the more famous Cubist artists.
From the Paper
"Cubism was a philosophy and style of art that also questioned all established values of art. It also ?created an artistic language of intentional ambiguity?. (ibid) In order to understand Cubist sculpture beyond just its formal and technical innovations, it is important to understand something of the background to the modernist era of artistic re-evaluation."
| |
|
Ed Hamilton and the "Spirit of Freedom", 2004.
A look at how African-American artist Ed Hamilton has his mark on the art world as well as American cultural history.
2,500 words (approx. 10.0 pages), 11 sources, MLA, $ 75.95
»
Click here to show/hide summary
Abstract
This paper examines how Ed Hamilton, a contemporary sculptor, believes his greatest passion in life is to teach people the truth of history, specifically African American history, and how his method of bringing truth to the public eye is to conceive of and create memorials to the ?forgotten? African Americans throughout history. It looks at how his specialty is doing public monuments and how he is most known for his work on public memorials that celebrate the achievements of African-Americans, such as his ?Spirit of Freedom? in Washington D.C., which honors African-American soldiers who fought for the Union in the Civil War.
From the Paper
"Born on Valentine?s day, February fourteenth, in 1947, Ed Hamilton has known a great many changes through his life. Although born in Cincinnati, Ohio, he was raised in Louisville, Kentucky. Wanting to follow his artistic urges and knowing a love for sculpting early in life, he attended the Art Center School in Louisville (Bright (Anonymous Biography, Internet source). He graduated in 1969. Unable to support his family entirely on his earnings from sculpting, he chose to teach both sculpting and ceramics to the youth at Iroquois High School while completing his education at the University of Louisville and Spalding University in Louisville. He began sculpting as a career only after becoming an apprentice to the well-known sculptor, Barney Bright (Anonymous Biography, Internet source)."
| |
|
"Variations on a Blue Guitar", 2004.
Overview of the style, content and core philosophy of
Maxine Greene's "Variations on a Blue Guitar".
1,050 words (approx. 4.2 pages), 1 source, MLA, $ 36.95
»
Click here to show/hide summary
Abstract
This paper reviews the work of Maxine Greene, an educational theorist, on arts education entitled "Variations on a Blue Guitar". The review consists of three sections. First, there is a report on the text itself and the philosophy of the author,. This is followed by a reaction to the author?s philosophy on the part of the writer and ends with some response and reflection questions for the reader so that the reader may actively engage with the text, as is commensurate with the philosophy of active learning of Maxine Greene discussed and analyzed in the paper.
From the Paper
"The educator and educational philosopher Maxine Greene?s thoughts, in the form of lectures she gave during a summer session at Lincoln Center, have been compiled in the text entitled Variations on a Blue Guitar. Greene?s lectures, conducted while she was still in residence at Columbia University?s Teacher?s College, centered around on the topic of aesthetic education and how the principles of imagination could be infused into the standard academic curriculum. Greene?s ideas, as expressed in these lectures and throughout her life, encompassed both the general principles of human transformation and variation and fused them in a spirit of what she called scholastic rebirth. Education, she believed, could enlarge the human spirit and its capacity for potential, as well as the human mind?s capacity for intellectual excellence."
| |
|
Propaganda vs. Art, 2004.
Addresses the questions in the debate about propaganda vs. art of whether the artist can be separated from the art he or she produces and to what extent the artist is complicit in the use of their artwork for propaganda purposes.
2,458 words (approx. 9.8 pages), 19 sources, MLA, $ 74.95
»
Click here to show/hide summary
Abstract
This paper argues that, while separating the art from the artist in an analysis of his work is generally a healthy practice, we should question to what extent we should make this separation and why some artists are allowed more leeway than others. The paper also attempts to answer the question, concerning propaganda versus art, about how much we can hold the artist responsible for the use and application of his art for other, possibly nefarious, purposes. The author of the paper argues that the answer lies in intentionality through an understanding of the intent of the artist in the production of the work of art. The paper uses artist Leni Riefenstahl and her work to illustrate the complexity and importance of addressing these questions.
From the Paper
"In debating the difference between art and propaganda one may enter into a minefield of contentious terms and complex ethical issues. The central concern that will be the focus of this paper is the intentionality of art in determining whether it is propaganda or art. If an artist is aware of and complicit in the manufacture and production of art for a specific political agenda, especially one that has been universally condemned, then he or she may be seen to be a propagandist rather than an artist. It is this qualitative and intrinsic difference in the artist and not in the use made of the art that is the central concern. Therefore, the criteria that will be used to ascertain the difference between art and propaganda is the underlying intention of the artist."
| |
|
Realism Style, 2004.
Describes the style and philosophy of the class of art known as Realism.
3,295 words (approx. 13.2 pages), 12 sources, MLA, $ 94.95
»
Click here to show/hide summary
Abstract
This paper explains the origins of Realism, its style, its political philosophy, and the subject of Realist art. The paper also discusses three paintings by important Realist artists, Courbet, Jean-Francois Millet and Honore Daumier, in order to illuminate the techniques, political ideas, and style of Realism. Finally, the paper explores the biographies of these three artists to provide a better understanding of why they were attracted to Realism.
Gustave Courbet
Jean-Francois Millet
Honore Daumier
Biographies
Realist and Revolutionary
Avant-garde More Recently
From the Paper
"The Realist style owes its existence to the Realist concept. ?Realism is democracy in art,? Courbet believed. (Nochlin, xiii) Taking that as the credo upon which the works of the artists were constructed, the style itself can be nothing if not anti-academic, anti-historical, anti-conservative. Indeed, whether brushstrokes or pen markings or etching into stone or metal form the image, the underlying attitude is one of freedom, attention to the gross characteristics of form, dismissal of mere decoration for its own sake, and obvious celebration of anything. The self-consciousness of the finely chosen brushstroke or marking is gone, in favor of a brushstroke or marking that favors expression of the interplay between what is seen and the seer. Gone is any demand from outside the artist to make things appear lovelier, grander, more stately than they perhaps really are. It is, in short, art with the warts painted in. It is the ?attempt to render in paint that exists in three dimensions.? (Parlez-vous Web site) It is, moreover, a less light-filled art than what had gone before, the Romantic style, and what would come after, Impressionism. It used the colors of the palette that corresponded to the nature of the subject matter, and the subject matter had changed from nobility in shining satins to the peasantry in rough and dirty woolens and linens. It might be fair to say that Realism was a portrait of reality gone down market one full step, for the painters themselves were, by and large, firmly bourgeoisie. So it might also be reasonably concluded that Realism is a style depicting ?what is? from a viewpoint that could easily look down were it not rooted in an egalitarian philosophy and a compassionate attitude."
| |
|
Tragedy in Art, 2004.
A look at how the concept of tragedy as viewed by philosophers is depicted in art.
1,446 words (approx. 5.8 pages), 3 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper portrays that Pablo Picasso?s 1937 mural, "Guernica: Testimony of War", is the epitome of tragedy in art as described by David Hume in his essay, "Of Tragedy".
From the Paper
"The mural is based on an incident that happened in 1934. Hitler had come to the aid of Francisco Franco by sending planes to destroy the non-military village of Guernica in Spain's Basque region. The entire town was decimated by the three hour siege. ?Picasso found himself interested not so much in what the bombing and burning of Guernica meant politically, but rather what they meant in metaphor, what they meant in the context of individual human lives. He wanted to address emotively the destruction of his beloved country, and he already possessed a personal visual language with which to do so, one anchored in the violence, suffering, and passion of the bullring, as well as in the centuries-old Spanish belief in the essential tragedy of life, one embodied by the figure of a grieving woman, La Llorona? (Martin 38). "
| |
|
The Uncanny of Freud, Urban Life, and Contemporary Art, 2004.
A look at Freud's definition of the uncanny as explained in his 1919 paper, "The Uncanny".
2,346 words (approx. 9.4 pages), 27 sources, MLA, $ 72.95
»
Click here to show/hide summary
Abstract
This paper presents an overview of several interpretations of Freud's definition of the uncanny and then takes a look at how it relates to contemporary thought and postmodern theory and art.
From the Paper
"The uncanny is created or emerges in that fissure formed by a tension that results from a collapse of fixed certainties and accepted familiarity. Central elements in the idea of the uncanny, which has been adopted by the post-structural community and by elements of contemporary art, includes the idea of dislocation, de-centeredness, the un-homely and nothingness in place of habitual identity. Furthermore, the meaning of the uncanny has the potential to disturb the logocentric views of modernism."
| |
|
Michelangelo?s ?David?.
This paper is an essay, which discusses the design elements of Michelangelo?s ?David?.
1,240 words (approx. 5.0 pages), 0 sources, $ 42.95
»
Click here to show/hide summary
Abstract
This paper explains that Michelangelo?s sculpture of David is an excellent example of how an artist can combine the principles of design to create a masterpiece: balance, unity, movement, pattern, emphasis, rhythm, and contrast. The author points out that the visual equilibrium of the sculpture, or its balance, is asymmetrical; the statue is shaped with an ?S? curve, which combines the elements of balance and grace. The paper relates that the element of pattern in David reveals Michelangelo?s genius of human anatomy, for example, the veins in David?s right hand.
From the Paper
"Michelangelo also displays an excellent use of contrast in David. David?s hair is wavy and his skin is smooth. Contrast can also be seen in the wrinkles on David?s face, the veins in his hands, and in the texture of his slingshot. The form of the statue also plays with shadows and light, which gives it a realistic feel. In terms of contrast, Michelangelo?s David is true to human form. In addition, Michelangelo was careful not to add too much contrast to David. This could explain why David is not wearing any clothing or shoes. Too much contrast would certainly diminish the physical beauty of man that Michelangelo wished to emphasize. From this viewpoint, it is easy to understand why Michelangelo utilized a very limited amount of contrast in his sculpture."
| |
|
Henri de Toulouse-Lautrec, 2004.
A look at the life and artwork of Henri de Toulouse-Lautrec.
905 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
»
Click here to show/hide summary
Abstract
This paper provides a brief biographical sketch of the life of Toulouse-Lautrec and then discusses and analyzes some of his art. The paper describes some of the influences on Toulouse-Lautrec's art, the uniqueness of his techniques and style, and the period when he was at the height of his career.
From the Paper
"Henri de Toulouse-Lautrec was born in Albi, France on November 24, 1864 to an aristocratic family. After breaking both his legs in separate accidents, it was discovered he had an inherited bone disease, and his legs never grew to their full potential. He enjoyed art, and in 1885, he began to exhibit and published his own work. Toulouse-Lautrec?s work was exhibited throughout Paris and included exhibitions at the Salon des Independents in Paris and Les XX in Brussels, Belgium. At the age of 36, he died of alcoholism and syphilis on Sept. 9, 1901."
|
|
|
