| Papers [61-72] of 1926 :: [Page 6 of 161] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
Postmodernism of Resistance and Reaction, 2008.
A review of art works by Hans Hofmann, Damien Hirst and Sherrie Levine and how they portray postmodernism of resistance or postmodernism of reaction.
1,421 words (approx. 5.7 pages), 10 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
This paper discusses the concept of postmodernism of resistance and postmodernism of reaction. It explores this concept and use examples of art to illustrate what is meant by this contrast. The paper describes and discusses art works by Hans Hofmann, Damien Hirst and Sherrie Levine and shows how these artists portrayed postmodernism of resistance or postmodernism of reaction.
From the Paper
"Instead, I would argue that the art world needed to wait another ten years to see true examples of "postmodernism of resistance" - in the form of artwork such as Damien Hirst's, which embodied what has been termed a "striking analogue for the relationship between aesthetic and lived experience" (Hopkins 228). Here was something that was utterly different, in that it was not merely a reaction against the formalism of Modernism. Instead, it embodied a sweeping paradigm shift, relocating art within the paradigm of installation. In so doing, it resists Modernism to the extent that it even places new demands upon the viewer of art - for example, often she must move. Indeed, her movement may inform the meaning of the artwork - something scarcely contemplated in the formalism of Modernism. Moreover, rather than form following function, function becomes irrelevant."
| |
|
Kazimir Malevich and Piet Mondrian, 2008.
An examination and comparison of the views of Kasimir Malevich and Piet Mondrian on the relationship between non-objective art and spirituality.
1,308 words (approx. 5.2 pages), 6 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
This paper explains non-objective art and then compares and contrasts how Kazimir Malevich and Piet Mondrian expressed their perceptions of the intimate connection between the spiritual and the non-objective through their writings and their paintings. The author concludes that Malevich tended to link non-objective artwork explicitly with western, organized religion; while Mondrian favored a more diffuse type of spiritualism reminiscent of eastern religions.
Outline
Introduction
Part I: Malevich's "take" on the Relationship between the Spiritual and the Non-Objective
Part II: Mondrian's "take" on the Relationship between the Spiritual and the Non-Objective
From the Paper
"Ultimately, what Malevich was really after - certainly in his "Suprematist" work - was to strive after something more ethereal and to leave the "earth" behind. Suffice it to say, this striving after the metaphysical, along with the perception that non-objective art could uncover a new kind of logic, hearkens back to spirituality in the sense that religion also demands that people disassociate themselves from the flesh, live for the world beyond this one, and put their trust not in humanism or in common logic but in a faith or "beyond reason-ness" that relies on intuition more so than anything else."
| |
|
The Skill of Photography, 2008.
This paper discusses the benefits of acquiring the skill of photography.
1,152 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
The paper relates that photography is a skill that anyone can learn. The paper advises the use of a cheap camera and a little time in order to acquire the skill. The paper shows the importance of photography by referring to the quote about a picture being worth more than a thousand words.
Outline:
Why Learn the Skill of Photography
Techniques in Taking Quality Pictures
From the Paper
"An old saying is that a picture is worth more than a thousand words. Why? A picture can catch memories that might be forgotten otherwise, a picture can be used as evidence in courtrooms or when filing insurance after a fire and/or a picture can be used when discussing life with families or friends. Sitting down and looking at a scrapbook of photos creates a bond with loved ones or friends. Ever want to describe an experience that happened in life? Photographs are great ways to describe the experience and even the emotion of the experience. Photography is a skill that is simple to learn and it is one that does not cost a lot of money. "
| |
|
Monet and Sunset, 2008.
This paper analyzes the style of impressionism and oceanic/seaside themes in Claude Monet's painting "Marine View with a Sunset".
1,100 words (approx. 4.4 pages), 6 sources, APA, $ 38.95
»
Click here to show/hide summary
Abstract
This study analyzes the style of impressionism and oceanic themes that arise in the piece, "Marine View with a Sunset" by Claude Monet. The writer notes that with Monet's background as a son of a marine supply tradesman, he implies a deep love for the oceanic seaside and its various lighting and movements. By understanding this infatuation with the way that light, movement, and his brush strokes created this painting, one can understand the impressionistic values he implies in his perception of the sea. In essence, this study examines the impressionistic techniques used to create this ocean scene in relation to Monet's understanding of marine life from his own familial background and in the European art culture of the late 19th century.
From the Paper
"In this manner, Monet used short brush strokes that appeared unfinished, but were essentially a deliberate and nuanced way of changing how lighting, color, and images were abstractly located and applied in the composition.
"The location of the sailboats in the painting reveal how Monet sought to change the focal point often used by painters in realist schools from Great Britain. By placing the boats lower than the horizon line, they were actually becoming non-objects that took the focus off of them as normative objects that centralized the composition. This type of painting took precedence in many of his painting the depict sunsets and sunrises where the light was often bleak, yet filled with obscure colorations that took away the focal points of the sailboats as essential aspects of "Marine View with a Sunset"."
| |
|
Constructivism in the Contemporary Arts Classroom, 2008.
A review of Eliza Pitri's article "Teacher research in the Socio-constructivist Art Classroom."
1,006 words (approx. 4.0 pages), 1 source, APA, $ 35.95
»
Click here to show/hide summary
Abstract
This paper discusses an article that explores socio-constructivism, a creative student-centered approach to teaching in today's American arts classroom. The author notes that although the article, "Teacher Research in the Socio-Constructivst Art Classroom" by Eliza Pitri is often repetitive and pedantic and contains a detailed description of the components of socio-constructivism as well as practical instructions for teachers who wish to implement it. The paper concludes with a brief analysis of how the use of this approach might impact pedagogy in the author's school.
From the Paper
"Expanding upon the work of earlier scholars, Pitri maintains that the socio-constructivist approach recognizes that people construct knowledge from the events and phenomena they come across in their lives. Citing a handful of scholars who have devoted themselves to the study of socio-constructivist epistemology and its implications for classroom instruction, Eliza Pitri writes that learners who actively pursue knowledge instead of simply sitting in a desk passively absorbing knowledge as articulated by someone else are learners who aggressively integrate new information and experiences into their pre-existing knowledge base; along the way, they revise and re-interpret "old" knowledge as part of an ongoing effort to reconcile it with "new" knowledge...."
| |
|
Michelangelo's Magnifici Tomb in the Medici Chapel, 2008.
A discussion of Michelangelo's Magnifici Tomb in the Medici Chapel, based on a study by Andrew Morrogh and a study by Estelle Lingo.
1,917 words (approx. 7.7 pages), 2 sources, MLA, $ 61.95
»
Click here to show/hide summary
Abstract
This paper discusses two studies of Michelangelo's Magnifici Tomb in the Medici Chapel towards complementary, as opposed to different, conclusions. The studies reviewed are Andrew Morrogh's "The Magnifici Tomb - a Key Project in Michelangelo's Architectural
Career" and Estelle Lingo's "The Evolution of Michelangelo's Magnifici Tomb - Program versus Process in the Iconography of the Medici Chapel".
The paper relates that both studies are authoritative and careful contributions to the study of the Medici Chapel, the tomb in question and the career of Michelangelo. The paper also asserts that their different vantage points on the Magnifici Tomb help along what should be a broad approach to any artifact or installation, investigating origins, features and salient details in relation to context, remembering that there shall forever be different opinions which can be powerful guides towards personal appreciation and further study.
Outline:
Introduction
Andrew Morrogh - The Magnifici Tomb as a Key Project.
Estelle Lingo - Program versus Process and Iconography
Discussion
From the Paper
"The errors made by Michelangelo included the level at which the viewer examined them, the focal point of three statues too low, a statue of the Madonna, on the other hand, requiring a higher viewing point. (p.594) As Morrogh concluded, imperfections and all, Michelangelo had been able to exercise considerable license in what he designed so tentatively and in its results, thanks to the nature of his patron. Michelangelo had mixed opinions concerning the tradition of classicism that would have satisfied many sculptors of his day, but his results were not just innovative but 'difficult' as Morrogh comments, still apt to draw mixed reviews from those examining the Magnifici Tomb in the present. From this article, the reader obtains much detail and most readers will enjoy the illustrations of very different drawings to which Morrogh refers, a familiar aspect of the Medici Chapel revealed to have been a much changing or even piecemeal affairs thanks to the patronage of Pope Clement who seems to have recognized Michelangelo's originality and given it free reign. One leaves this article with the impression of having enjoyed a 'solid' few pages of scholarship, the author plainly knowing far more on Italian Renaissance design and architecture of which this article indicates one quite small topic."
| |
|
Venus of Urbino, 2008.
This paper discusses the painting 'Venus of Urbino' while concentrating on Rina Goffen's work "Sex, Space, and Social History in Titian's Venus of Urbino".
843 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that Rona Goffen's "Sex, Space, and Social History in Titian's Venus of Urbino" argues that traditional essentialist analysis of Titian's 'Venus of Urbino' have missed key points of textual and historical evidence by concluding that the painting is the equivalent of Renaissance pornography. Instead, the writer points out, Goffen argues, Titian's famous work is actually a marital image that, despite overt sexuality, is nonetheless grounded in the social conventions of marriage during the Renaissance. The writer discusses that drawing on an impressive amount of historical scholarship into the period, Goffen illustrates how our modern conceptions of sexuality and marriage are at odds with those embraced during the Renaissance. The writer maintains that the end result has been a gross misinterpretation of 'Venus of Urbino' that debases the subject of the work without a clear understanding of its social and historical context.
From the Paper
"In other words, the act of sex itself may be biological and omnipresent for all human beings; this is natural. But the attached attitudes, beliefs, and representations of that sexuality is not natural but is instead informed wholly by cultural, social, and historical forces. These forces shape the way that individuals perceive the act of sex and incorporate its presence into their lives.
"Because of this fundamentally cultural basis for attitudes about sexuality, it follows that artistic representations of sexuality will change with time and not necessarily be comprehensible. Goffen argues that any interpretation of the obvious sexuality of Venus of Urbino must be tempered and informed by a clear knowledge of the historical period in which the painting was produced and the prevailing attitudes about sexuality that would have informed the artist and his original audience."
| |
|
Influences on Monet and Harris' Works, 2008.
An analysis of the different influences that impacted on Claude Monet's "Charing Cross Bridge, Fog" and Lawren S. Harris' "Lake Superior."
1,097 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper compares and contrasts Claude Monet's "Charing Cross Bridge, Fog" from 1902 and Lawren S. Harris' "Lake Superior" from around 1924. The paper provides a brief history of each artist and his work and then discusses how these two works show some of the different influences on art that are evident from different time periods.
From the Paper
"The painting shows the Impressionist desire to capture a particular moment in all its specificity, recreating the impression left of the light, the contrasts, and the movement. Monet indicates the movement of the mists in the direction of his brushstrokes and in the way the colors seem to create a whirling effect, a clockwise movement of both water and atmosphere. Seitz notes that Monet was beset by a "drive to capture the full range of natural effects, however impalpable or transitory" (Seitz 338). In this picture, his attempt to do just that is quite apparent."
| |
|
An Architect, 2008.
This paper looks into the field of architecture and discusses the profession of an architect.
1,863 words (approx. 7.5 pages), 4 sources, MLA, $ 59.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that Webster's Encyclopedic Dictionary of the English language defines architecture as the profession, the art and science, of designing buildings, open areas, communities and other artificial constructions and environments. An architect is a person who engages in this profession. The writer points out that there are those who believe that being an architect is an easy job. This paper argues that architecture is not an easy profession even though many people feel it is. In support of this thesis this paper provides an examination of what is needed to become an architect, what being an architect entails, and what kind of skills are required. As an example, Norman Foster, a famous architect, is used.
From the Paper
"Architecture is very distinct in the sense that it is an art as well as a science. An architect has to think about the aesthetics, how a building will look on it own as well as within the context of its environment and its function. Architecture is a science too. A building has to be able to stand and comply with the laws of physics and mechanics. New materials, new methods of construction as well as new needs are constantly changing and an architect must be familiar with them. Furthermore, we can say that architecture in a way serves two principal needs. It has a utilitarian function as well as an expressive one. Its utilitarian function is obvious. Architecture provides for one of the three basic human needs, without which we would not be able to survive: food, clothes and shelter. The expressive function can be seen through the many old buildings still standing today."
| |
|
Chartres Cathedral in France, 2008.
Looks at the famous stained glass windows of Chartres Cathedral in France.
935 words (approx. 3.7 pages), 4 sources, APA, $ 33.95
»
Click here to show/hide summary
Abstract
This paper describes the famous stained glass windows of Chartres Cathedral in France. The paper describes the cathedral's gothic style, the set of windows in the west facade, the rose windows that can be found in different parts of the cathedral, and the Blue Virgin Window in the ambulatory area. The paper also describes the guilded windows in the cathedral, noting that, more than with most cathedrals, Chartres Cathedral's windows area often marked to show the donor, and this is true of the so-called guild windows, or windows donated by the trade guilds.
From the Paper
"The South Rose is seen with five lancet windows and dates from the 1230s. The Rose Window itself shows the Glorification of Christ, with Christ blessing surrounded by Four Evangelists and angels, then the elders of the Apocalypse, then the arms of donors to the cathedral. The left lancet shows Evangelist Luke over Prophet Jeremiah. The second lancet shows Evangelist Matthew over Prophet Isaiah. The central lancet shows the Virgin and Child."
| |
|
Architect Michael Graves, 2008.
Looks at postmodernist architect Michael Graves, one of the leading twentieth century architects and designers.
1,745 words (approx. 7.0 pages), 5 sources, MLA, $ 56.95
»
Click here to show/hide summary
Abstract
This paper explains the Michael Graves' drawings and buildings are notable for their manipulation of archetypal form into highly abstract, figurative compositions. The paper then points out that Graves gave up the neutral glass curtain wall of late modernism and instead uses a colorful cloak of cladding by which he reintroduces the hierarchical composition of classical buildings more characteristic of postmodernism. The paper also reports that Michael Grave's Public Service Building in Portland, Oregon has at least four distinct historical styles embedded in its design: egyptian, italian, art deco and modern.
From the Paper
"Levin agrees as well that postmodernism has derived from the ability of artists to produce works in a mass quantity, so to speak, because of new processes and products involving mass production: "By the time men were traveling to the moon, art was being assembled in factories from blueprints." While the postmodernist may see the modernist era as more scientifically oriented, it is clear that postmodernism is also influenced by scientific developments and possibilities. Levin says that modernism was highly optimistic, while postmodernism is more cynical."
| |
|
Theophilus Presbyter's Influence on Art History, 2008.
An analysis of the ways in which Theophilus Presbyter influenced later practices of other artists, particularly looking at his treatise, "On Divers Art."
2,144 words (approx. 8.6 pages), 10 sources, MLA, $ 67.95
»
Click here to show/hide summary
Abstract
This paper discusses the impact that Theophilus Presbyter's had on the course of painting history. The paper examines his origins and his stature as an impressive cataloguer of the preferred methods of his time as well as how he might very well have influenced the development of Jan Van Eyck's impressive body of work. The paper particularly explores how Theophilus influenced the later practices of other artists - from those working with wood in England to Renaissance masters to the notable Florentine painter, Nardo di Cione. The paper focuses on Theophilus' treatise, "On Divers Art."
From the Paper
"The importance of Theophilus's treatise can scarcely be exaggerated - at least if one is a scholar of medieval art. Specifically, On Divers Arts is widely regarded as the foremost treatise available on the painting, glass-making and metal-working arts of the Middle Ages; certainly, this the general view of John G. Hawthorne and famous medieval translator and historian, C.S. Smith, who make that bold proclamation on the cover pages of their 1979 text devoted to the path-breaking work of Theophilus Presbyter (for full bibliographic information, please see the reference list at the conclusion of this paper). In that respect, the aforementioned twelfth century work may rightly be described as not only pertinent to any understanding of medieval painting, but as the best resource available to modern-day students and scholars eager to learn more about how the panel paintings, stained glass masterpieces, and canvasses of twelfth century Europe were produced."
|
|
|
