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Greek Statues, 2008.
A comparison of Greek statues - the kouros of the Archaic period and the depiction of Demosthenes from the High Hellenic period.
1,529 words (approx. 6.1 pages), 3 sources, MLA, $ 50.95
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Abstract
This paper discusses the evolution of Greek statues over the centuries. It presents an overview of Greek statuary, focusing on the Archaic period and the High Hellenic period. The paper specifically focuses on and compares the kouros of the Archaic period and the depiction of Demosthenes from the High Hellenic period in order to understand how the changes came about.
Table of Contents:
Overview
The Archaic Period: the Kouros
The High Hellenistic Period: Demosthenes
Comparing Statues
Conclusion
From the Paper
"The kouros was never intended to represent a single individual. Instead, such statues were intended to represent a group of people, being that of idealized male youths at the height of their sexually attractive state. However, the statue of Demosthenes is clearly a representation of a single individual. It does not merely represent a group of people, being an idealized representation of the group "philosopher." Rather, the statue of Demosthenes is what Pedley calls a "psychological portrait" (352) of a living being, unlike the ambiguous kouros who exists suspended outside of time."
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From the Houston Museum of Fine Arts, 2007.
This paper analyzes four works of fine art from the Houston Museum of Fine Arts.
875 words (approx. 3.5 pages), 4 sources, APA, $ 31.95
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Abstract
This paper examines Claude Monet's" Water Lilies" ("Nympheas"), "Fereghan Horse" from the Chinese Tang Dynasty, John Singer Sargent's "Mrs. Joshua Montgomery Sears" and Mary Cassatt's "Children in the Garden" ("The Nurse") from the Houston Museum of Fine Arts. The author points out that Claude Monet's water lilies depict the Japanese styled stillness that Monet desired in works of nature. The paper relates that in Sargent's work, "Mrs. Joshua Montgomery Sears, the use of oils reveal the complexity of paints that provide greatly contrasting chiaroscuro that abounds in the work. The author further notes that the main subject in Mary Cassatt's work is the profound sense of women relationships that exist within elite households.
From the Paper
"The choppy brushwork of the fauna along the pathway is representative of Impressionist works of the period, while Cassatt abstracts the forms of the nurse and the children by denying them any detail. Small circular brush strokes define the flowers along the path, which help anchor the depth of the work. In effect, the composition of the painting provides some depth and perspective, as the nurse causally knits while the lone child plays at her side. By placing the woman and the two children off center of the painting, this provides the depth and abstraction of form need to bring out depth perception along the angle of the pathway."
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The Contemporary Fine Art Markets, 2007.
This paper is an anthropological analysis of the contemporary fine art market based on Stuart Plattner's study, titled 'A Most Ingenious Paradox - the Market for Contemporary Fine Art' from "American Anthropologist".
2,270 words (approx. 9.1 pages), 8 sources, APA, $ 70.95
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Abstract
This paper explains that Plattner's article, 'A Most Ingenious Paradox - the Market for Contemporary Fine Art', reports trends in the North American contemporary fine arts markets and in the commodification of fine art that reflect a neo-liberal environment of considerable new wealth and the culture of consumerism. The author points out that Plattner's orientation is one of participant-observation; a person exposed directly to the phenomenon of local fine art businesses and those who produce for them. The paper concludes that the local fine art markets are well established and profitable and that its artifacts may indicate a great deal regarding consumer tastes and behavior.
Table of Contents:
Introduction
An Informal Ethnography
The Decline of Authority
Economic Anthropology and Fieldwork in Toronto
Concluding Remarks
From the Paper
"Few consumers can know much of why one piece of fine art in a local venue costs more than another, as producers know that few seem to purchase with an eye to buying something to appreciate in value, as opposed to buying due to personal preference. In local and regional markets, the artists that Plattner refers to as identity producers can have an involved philosophy towards what they produce of which consumers need not know, featuring ideas of contributing to a total cultural heritage rather than pursuing artistic fame or monetary success."
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Antoine Watteau and Marc Chagall, 2007.
A comparative analysis of the paintings "The Pleasures of Love" by Antoine Watteau and "The Birthday" by Marc Chagall.
909 words (approx. 3.6 pages), 2 sources, APA, $ 32.95
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Abstract
This paper discusses how artists in different eras can address the same general subject and produce very different works, as can be seen by a comparison of two paintings on love, "The Pleasures of Love" by Antoine Watteau and "The Birthday by Marc Chagall". The paper attempts to show how both works, some two centuries apart in time and very far apart in terms of style, give interesting images of love and of the way love separates lovers from the world and places them in a place all their own.
From the Paper
"The Watteau was painted in 1719 and is a colorful scene showing a number of courtly persons on a wooded site, with the central group consisting of four couples, and with other couples seen off to either side. They are grouped before a statue of Venus, with Cupid hanging onto her leg. The work is one of a genre called fetes galantes, or "romantic and idealized scenes [that] depict elaborately costumed ladies and gentlemen at play in fanciful outdoor settings" (Watteau, Jean-Antoine, 2002, para. 1). "
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Realism and Expressionism in Art, 2007.
A comparison of realism and expressionism in the feminist art works of Kathe Kollwitz and Paula Modersohn-Becker.
1,326 words (approx. 5.3 pages), 8 sources, MLA, $ 44.95
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Abstract
This paper examines, compares and contrasts realism and expressionism in the works of Kathe Kollwitz and Paula Modersohn-Becker. It focuses on Modersohn-Becker's "Self-Portrait with Amber Necklace" and "Self Portrait on Her Sixth Wedding Anniversary" and Kathe Kollwitz's "Praying Girl" and "Small Self-Portrait". The paper shows how both artists comparably use a feminine self-expression, but they use differing variations of drawing and painting in their stylistic methods of art.
From the Paper
"The latest of the works that will be analyzed in this study will be the etched lithograph "Small Self Portrait" (1920) by Kathe Kollwitz. The grim countenance of the artist in this drawing reflects her old age, as well as a tired expression defining her life-long artistic commitment and loyalty to the working classes. This feminine image is not grandiose or tainted as are normative standards of beauty that were common in this period, and reveal the reality of an old woman who has seen a great many difficulties in life. In her life, she often sought out women models that reflected her "interest and sympathy for the hardships of the humble working women" (Prelinger 105). The hard lines of her face are depicted in the drawing, which connotes the hardship that she often wished to see in the working people in her community. In many cases, the dark lines and shadowing reflect the realist manner of clarity and proportion, which depict the essence of a clear-sighted view of the artist's presence. Often, this "reality" of her line and composition often dictated her desire to depict people as they appeared, not as an artist's own selfish distortion or beautification of life."
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Corporate Design, 2007.
This paper analyzes the influence of corporate designs on society and the daily lives of individuals.
990 words (approx. 4.0 pages), 6 sources, MLA, $ 35.95
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Abstract
This paper explains that one can understand the importance of corporate design when one realizes that consumers purchase products, such as home electronics, are based primarily upon the design of these products rather than on their underlying quality. The author points out that design has integrated business and commercial activity into the very domain of the home, which was once considered private, personal and off limits to business activity. The paper relates that ergonomics has influenced design in the work environment, which has changed the work place from a place of servitude to a place of comfort where an individual is not an accessory to the environment but rather a part of the environment.
Table of Contents:
Overview
Design as Human Enterprise
Manifestation in Daily Life
The Work Environment
The Urban Setting
Conclusion
From the Paper
"A perfect illustration that design has a pervasive impact on the human condition is found in the argument that architects are partly social engineers as well as designers. Architects in certain disciplines affect social change across demographics within a city by virtue of what and how they design the structures where individuals interact with the civil environment of the city. ... Architects examine design not as a method to control nature but as a way to facilitate the human interaction with nature and improve that interaction to the benefit of both nature and mankind."
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The Cyclades and Greek Art, 2007.
This paper examines the archaeological evidence of the Cyclades, as well as later Greek works.
2,671 words (approx. 10.7 pages), 13 sources, MLA, $ 80.95
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Abstract
The paper analyzes the artifacts found from the Cyclades sites and pottery from the same region. The paper describes how the style of the Cyclades statuettes fits with other works from different parts of the near east and shows how it influenced later classical Greek and Roman sculpture. The paper discusses the many shifts in aesthetic viewpoint in this century, when art was redefined in terms of the existing social relations and prevalent aesthetic ideas. The paper also looks at the geometric style in Greece and the relationship of art, mathematics and computer technology today.
Outline:
Introduction
Findings
Pottery
Developments
From the Paper
"The Cyclades are a group of islands in the Aegean Sea where neolithic burial sites have been found. The figurines found tend to be stylized and abstract in form (Fiero 8). The clay figurines in this culture are in place of the neolithic idols made of clay from other regions. The marble quarried on these islands made it possible for the workshops of the culture to flourish. Products made by artisans on the Cyclades made their way to Crete and also to the mainland. Most of the statuettes are naked female figurines with their arms crossed over the abdomen, and they are generally not designed to stand erect."
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Architect Frank Gehry, 2007.
This paper discuses four structures designed by world famous architect Frank Gehry: The Malibu studio and residence of artist Ron Davis, the Experience Music Project in Seattle, the Disney Music Hall and the Guggenheim Museum in Bilbao, Spain.
1,485 words (approx. 5.9 pages), 6 sources, MLA, $ 49.95
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Abstract
This paper explains that Frank Gehry is noted not only for the unusual organic look and materials on the exterior of his buildings but also for changing the way people relate to the interior design of buildings. The author points out, in the examples of Gehry's designs, how he shows interesting variations on the way people relate to the interior, get into and out of the interior and react to the function of each building. The paper relates that Gehry's interiors and exteriors also are linked to the land more directly than is often the case with other structures, not merely by being placed on a certain ground but by making use of this terrain and by forming an organic bond inside and out.
From the Paper
"The Disney Hall seems to connect to the street in some ways. The Seattle music building includes a rail system that goes right through the building. The museum in Bilbao connects the structure directly to the street and to the main thoroughfare of the town, a road that cuts through the complex of buildings making up the museum. The museum itself is not a single structure but a series of nineteen galleries connected in such a way that they make up one large building, or at least give the impression of one large building."
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Neo-Expressionist Artist Julian Schnabel, 2007.
This paper discuses one of the leading American Neo-Expressionist artists, Julian Schnabel, who represents something of an enigma in contemporary art.
1,425 words (approx. 5.7 pages), 8 sources, MLA, $ 47.95
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Abstract
This paper explains that Julian Schnabel's work and reputation serve as excellent examples of the complex processes that shape art criticism and reputation in the world of contemporary art. The author points out that Schnabel's theatrical work, such as his "signature" style of painting images and portraits on the medium of broken pottery/plates and black velvet, was the product of a post-modern culture, driven by an unprecedented scale of investment in modern art using the wealth created by the 1980s stock market. The paper argues that Schnabel's rejection of any sense of autonomy or "purity" in favor of a deep engagement with mediated culture is distinctly post-modern.
From the Paper
"From this perspective, it is not surprising that as Schnabel's critical reputation as a figurative artist began declining - not coincidentally, around the same time as a global recession ended the economic boom of the 1980s - Schnabel turned to another artistic medium in which to work: film. This may not have been such a dramatic leap as it might first appear, for critics reflecting upon Schnabel's early paintings have noted qualities in them reminiscent of film. Schnabel's first venture into film was the biopic of his friend and fellow artist in the New York art world of the 1980s, Jean-Michael Basquiat."
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Writers' Responsibility, 2007.
This paper discusses the responsibilities of a writer and looks at why the views of artists about their work need to be heard.
1,168 words (approx. 4.7 pages), 3 sources, MLA, $ 40.95
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Abstract
In this article, the writer discusses that whether writers have a responsibility to define, discuss and defend their subject matter is one that is of increasing interest in today's media-saturated world. The writer of the paper notes that writers are asked by readers, and by their own publishers, to talk about why they write about certain topics, and how they feel about art, politics, and life in general. The paper asserts that writers must be part of the public discussion about their works in order for these pieces of art to mean anything in the long term. The paper further maintains that it is not enough to simply write a book or story, and then to sit back and let random interpretations flow. Rather, writers have a responsibility to the public to explain their viewpoints, the reasons they choose to write, and what their experiences ought to say to us at some broader level.
From the Paper
"As a career, writing is one in which there exists at some level an ultimate degree of freedom. A writer can choose to write about whomever, whatever or whenever he or she feels is appropriate. Creativity, imagination, and a way with words all tend to be important characteristics if one wants to succeed in this career. An important question arises, however, when a writer achieves some measure of commercial and critical achievement. All of a sudden, writers find that thousands, perhaps millions, of individuals are reading their work, and that they no control whatsoever over how this story is received. For many writers, this presents a frightening reality: the work that they have created has become a public entity with a life of its own. Stories, novels, poems and plays that have been lovingly crafted by their authors are now things that are read in schools, analyzed by the water cooler, and discussed at the dinner table."
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