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Sartre, 2004.
Examines the changes in the literary and artistic scene in France from before WWI to after WWII, with an emphasis on the works of Jean-Paul Sartre.
2,811 words (approx. 11.2 pages), 5 sources, MLA, $ 83.95
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Abstract
This paper details the evolution of French artistic and literary expression from before WWI to after WWII. Dadaism, Surrealism, Absurdism, and many of the famous writers of those periods are examined. The paper focuses on the works of Jean-Paul Sartre and looks at influences on his writing, as well as his impact on the Absurdist movement. The paper also analyzes some of Sartre's more famous plays and discusses his philosophy.
From the Paper
"There was a brief period of economic prosperity and progress in France, called the belle ?poque (beautiful epoch) before World War I in the early years of the 20th century and right before the wave of pessimism began in the 1920s (Cosper 2004). At this time, inventions like the telephone, the automobile, the airplane and the cinema refreshed modern life. Literature turned away from old styles, such as naturalism, and into the newer and more exciting forms, like cubism and bold experiments by Apollinaire. Other playwrights followed the lead of Apollinaire and introduced stage innovations, among them, Alfred Jarry with his extravagant farce in Ubu Roi in 1896 and Ubu King in 1951 and Paul Claudel. Alain-Fournier?s novel, ?The Wanderer,? denied the limitations realists and naturalists placed on the human imagination and philosopher Henri Bergson proposed the naturalist view that human destiny was predetermined and that people had freewill and unlimited creative energy (Cosper)."
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The Art of Graffiti, 2004.
Examines the history of graffiti, with special focus on a well-known graffiti artist.
1,370 words (approx. 5.5 pages), 3 sources, MLA, $ 45.95
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Abstract
This paper examines the art of graffiti. The author focuses on the history and meaning of street graffiti using the work of one well-known graffiti artist to draw from for examples. The work of world renowned graffiti artist, Cool Disco Dan, is examined and explored.
From the Paper
"If one drives through any inner-city area in the nation one will see graffiti along the walls, subways and sides of buildings. Many people believe that graffiti is little more than gang vandalism, used to tag and mark areas that they believe they ?own,? but with graffiti?s long history and widespread use it represents much more than that. While it is true that some gangs use a tagging process to mark their geography grounds, true graffiti has nothing to do with tagging. Graffiti is an art form and is often referred to as the language of the street."
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Henri Matisse, 2004.
A biography of the life and influences of the French painter, Henri Matisse.
1,377 words (approx. 5.5 pages), 6 sources, MLA, $ 46.95
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Abstract
This paper looks at the life of Henri Matisse, born in 1869 in the north of France. It explores how, unlike many artists of the turn of the century and during the two world wars, Matisse remained steadfast in his attention to the same subjects he had always painted: interiors; landscapes; and people. It shows how he never gave up his intense palette in favor of the muddy and neutralized colors favored by the disillusioned and discontent, despite the near-abstract qualities of his paintings in his later years.
From the Paper
"In fact, there is very likely to have been a direct influence by Signac?s work on Matisse?s decision to paint Le Bonheur. In 1895, Signac had displayed the painting he regarded as his masterpiece at the Salon des Independants. The painting, In the Time of Harmony, was a large allegorical composition setting forth Signac?s anarchist beliefs. (Hughes, date unknown) That sort of ideation and the subject matter needed to convey it would not have been appealing to Matisse, as apolitical as he was. But Matisse was interested in the concepts of Baudelaire, who attempted to reconcile the distressing portions of the ?modern age? with an idealized antiquity."
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Picasso's "Les Demoiselles d?Avignon", 2004.
Explores the significance of Picasso's famous painting to his career as an artist.
5,110 words (approx. 20.4 pages), 6 sources, MLA, $ 128.95
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Abstract
This paper looks at the changes that took place in Picasso's artistry and his approach to painting that inspired him to paint "Les Demoiselles d'Avignon", one of Picasso's most famous pieces. It analyzes the painting and explains why, at the time it was painted, it was considered so outrageous and daring. The paper looks at the major artistic influences in Picasso's life as well.
From the Paper
"According to Roland Penrose, ?the one single person that predominated the development of the arts during the 20th century was Pablo Picasso,? 1 and it is largely due to him that the conception of art as a powerful emotional medium, rather than a search for the perfection of ideal forms of beauty, has become accepted among the artists of the present day. The return to a fundamental belief that art should spring from a primitive need to express our feelings toward the world around us in strong emotional terms makes us more prone to value a work of art for its vitality than for its perfection. In return, it is the exceptional power of Picasso?s work that compels the viewer to discover in his art the mysterious presence of beauty."
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Primitivism in Modern Art, 2004.
Explores the influence that primitive art has had on modern art.
923 words (approx. 3.7 pages), 10 sources, MLA, $ 32.95
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Abstract
This paper describes how modern art appropriated images from so called "primitive" cultures and describes the social changes that prompted this attraction to primitive art forms. The paper also discusses some of Picasso's works and notes how these works were influenced by African culture and art.
From the Paper
"A central facet of modernist art was the questioning of and dissatisfaction with the traditional views of life and art, and the concomitant rejection of established standards in the search for the new and different. Social factors such as the First World War also lent impetus to this search for alternative views of reality that was expressed in modernist art. In their search for alternative styles and means of expression, artists were attracted to the unusual and exotic. African art was one of the areas that supplied images and artistic energy that inspired many artists of the time. Artists like Picasso and Gauguin found formal ideas and images in the so-called primitive societies that resonated with energy and a new artistic rhythm."
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"Interior of Cathedral at Aachen", 2004.
An analysis of the "Interior of Cathedral at Aachen" by Hendrick van Steenwijk.
1,204 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
Description of ?Interior of Cathedral at Aachen?, done in 1573 by Hendrick van Steenwijk. The writer also describes his own personal appreciation for this particular piece, as well as the artist's works in general. Finally, the paper offers some background information on the artist.
From the Paper
"The title of the oil painting "Interior of Cathedral at Aachen" 1573 by the Flemish Hendrick van Steenwijk (c.1550-1603) might originally strike in the reader?s mind with the image and impression of a high-reaching cathedral that shocks the eye. A viewer expecting such a work, however, will find him or herself quite disappointed. Upon first glance of this work hanging in the Rhode Island School of Design Museum of Providence, Rhode Island, a viewer is immediately struck by the painting?s conveyed sense of smallness and interiority. Rather than reaching out to the heavens, the painting takes place and evolves in its perspective through the use and succession of a series of curves and half-circles. The circular, cloistering sense is further confirmed by the shadows that play upon the depicted corridor of the cathedral."
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"The Valley of the Fallen", 2004.
Analysis of the Francoist monument and mausoleum in central Spain, known as "The Valley of the Fallen".
3,641 words (approx. 14.6 pages), 9 sources, APA, $ 101.95
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Abstract
This paper uses the Francoist monument, "The Valley of the Fallen" (Valle de los Ca?dos), as a case study for analytical techniques associated with memory studies, cultural history, and reception theory.
From the Paper
"The Spanish Civil War ended, after three years of often brutal fighting, with the total victory of the Nationalists in March 1939. The decree announcing the foundation of the monument was dated 1 April 1940, one year precisely after the famous telegram in which Franco had signalled the end of the Civil War with the declaration ?the war is over?. The first of April, which became known as the ?Day of Victory?, was also the date upon which the completed Valley of the Fallen was eventually inaugurated, in 1959. Franco himself chose the site for the monument, after a lengthy search: the dramatic valley of Cuelgamuros in the granite foothills of the Sierra de Guadarrama, thirty-five miles north-east of Madrid."
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African Art, 2004.
Takes a look at African art forms, with a focus on art from Benin and Sierra Leone.
908 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper talks about some of the art produced in Benin and Sierra Leone and why so much of the more ancient art of that region no longer remains. The paper then describes art from Benin that is approximately 500 years old and more recent artwork from Sierra Leone made in the 19th century. The naturalistic heads and bodies of the Ife tribes of Benin and the Nowo masks from Sierra Leone are described, and the materials and techniques used are explained as well. Images of both types of art are included with the paper.
From the Paper
"Art from Benin, located in the rainforests of Nigeria on the coastal plain west of the Niger River, first came to the Western world in 1897, when members of a British expedition took out thousands of objects as war plunder after the English conquest. Through government and private sales, Benin sculptures were soon found on the shelves and displays of museums and personal collections in England, Europe and America (Ben-Amos, 9). The art of Benin is unique in Africa, due to its unusual makeup of cast brass and carved ivory. Much of artwork from this country acts as a heritage to the Royal Kingdom of Benin, one of the greatest times in the continent?s history (Ezra, 2)."
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Prehistoric Cave Art, 2004.
Discusses the discovery of cave art in Europe and Africa.
951 words (approx. 3.8 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper looks at the relatively recent discovery of cave art and how many experts were, at first, skeptical of its authenticity. The paper describes some of the art found and how it was accidentally discovered, as well as how it finally came to be recognized as authentic Paleolithic art.
From the Paper
"Despite being the most ancient of all human artistic forms, cave art was discovered only within the last one hundred years or so, usually by accident and by amateurs. In 1879, near Santander in northern Spain, Marcelino de Sautuola was exploring with his little daughter the Altamira caves on his estate. Since the ceiling of the debris-filled cavern ?was only a few inches above Marcelino?s head, it was his daughter who was first able to discern the shadowy forms of painted beasts on the cave roof? (Berenquer, 25). De Sautuola was the first modern man to explore this cave and he was certain that the paintings dated back to prehistoric times. Archeologists, however, were highly dubious of their authenticity, but in 1880 the Altamira paintings were officially dismissed as forgeries. In 1896, at Pair-non-Pair in the Gironde district of France, more paintings were discovered that were partially covered by calcareous deposits that would have taken thousands of years to accumulate and soon after, these paintings were recognized as authentic by the experts. The caves at Lascaux near Montignac in France were discovered accidentally in 1941 by two young boys who were playing in a field. Their dog chased a ball down a hole and disappeared, and the boys then followed the dog down into the caves."
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Renaissance Art, 2004.
This paper discusses Renaissance art, specifically "The Judgment of Paris" by Lucas Cranach the Elder and "The Death of the Virgin" by Caravaggio.
960 words (approx. 3.8 pages), 4 sources, MLA, $ 34.95
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Abstract
This paper explains that both paintings represent a distinct style of Renaissance art, but each is from a different period and illustrates the differences that can occur during the same artistic period and the commonalities that hold the period together. The author points out that Cranach's work added much to the German Renaissance. He was the first painter to create full-sized portraits, rather than just portraying the head and shoulders, and the first to create erotic nudes, which were quite popular with private collectors. The paper relates that the many commonalities in these paintings, even though they represent different times in Renaissance artwork, are the use of great detail and the effects of lighting.
From the Paper
"The first painting, "The Judgment of Paris," is tempera and oil on wood. It measures 40-1/2 by 28 inches, and the artist, Lucas Cranach the Elder, painted it sometime around 1528. Cranach was a German painter who lived from 1472 to 1553, and painted in the Northern or German Renaissance style. This painting is executed in the natural style, blending the figures in the foreground with the surrounding landscape. The detailed landscape behind the figures is as well executed as the figures, with detail that draws the eye from the figures to the background and back again. The background even contains a medieval palace on the edge of a soaring cliff, along with a medieval village off in the far valley, with a sailing ship floating peacefully at the village's waterfront."
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Changes in the Use of Narrative in Early American Cinema, 2004.
Describes how film, once perceived as a new and innovative form of technology, has evolved into what many consider to be a form of art.
967 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper explores the evolution of film from a technology to an art form. The changes that took place in filming technology, the changes in the approach to filming, and changes in attitudes towards film are cited as reasons why the early perception of film changed from that of a new technology to that of an art form. The paper also talks about how the introduction of the narrative helped enforce the growing belief that film was an form of art, not just another new technology.
From the Paper
"Although it may be difficult to conceive of in our modern era, as film has taken its place alongside the long-accepted artistic mediums of painting and sculpture as an ?art form,? during the early era of silent film this was far from the case. At the beginning of the 20th century, film had the status more of a modern technological curiosity or ?freak show? rather than the status of art. The earliest works of film of the very end of the 19th century encouraged the viewer to simply marvel at the ?moving picture? before his or her eyes, almost regardless of its content. Quite often these early clips of film had no narrative to speak of. The purpose of such shorts was to simply show the nature (and the limits) of the medium and to capture, however imperfectly, dancers, actors, and other noteworthy individuals of the day in motion, much like a moving newspaper."
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Henri Matisse, 2004.
Discusses the life and works of artist Henri Matisse.
897 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper provides biographical information on artist Henri Matisse and discusses his artistic career. Several of Matisse's works of art are reviewed, and influences on his work are discussed, as well as the influence that Matisse has had on the world of art today.
From the Paper
"Henri Matisse (1869?1954), a painter, draughtsman, sculptor, printmaker, designer and author, came into the world of art comparatively late in his life and made his reputation as the main exponent of fauvism, the first avante-garde artistic movement of the 20th century. As Russell T. Clement points out, fauvism ?was influenced by non-European cultures that were part of the new colonial dominions as found in Africa, Polynesia and Central and South America which encouraged more personal forms of expression than had been known in the West? (89). His career seems to have begun in 1891 when Matisse registered at the Academie Julian and prepared for the entrance exam to the Ecole des Beaux-Arts despite his father?s objections to set his life course on the study of art. In 1892, Matisse was invited to join the studio of Gustave Moreau and he remained here until his marriage to Amelie Parayre in January of 1898."
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