| Papers [121-130] of 1926 :: [Page 13 of 193] | | 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 —> | |
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Pop Art, Rock 'n Roll Music and Modernist Literature, 2007.
An analysis of pop art, Rock 'n Roll music and modernist literature in the 20th century.
1,094 words (approx. 4.4 pages), 3 sources, MLA, $ 38.95
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Abstract
This paper provides a three-tiered analysis of the most important trends in art, music and literature since 1890. In the paper, Andy Warhol represents the important trend of pop art, the Rolling Stones represents the important trend of Rock 'n' Roll in popular music and finally, Ernest Hemingway represents the crucial trend of modernist literature in the 20th century. It shows how these trends are an important part of the cultural identity of the 20th century, which impart crucial influences as to how art, music and literature evolved in this time frame.
From the Paper
"The insanity and terror of war of this kind is the direct result of losing one's honor in a battle field that had little to do with chivalry and honor. Modernism reflects the reality and horror of war, as Hemingway clearly indicates in his response to coming home and telling his story to the local people in his town. In an age of machines and World Wars, Hemingway was a part of the important trend of literary Modernism, which provided the reality of war that counteracted the romanticism of war in the 19th century."
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The Art of Andy Warhol, 2007.
An analysis of elements of Marxist ideology that arise within Andy Warhol's art works from the 1960s.
2,905 words (approx. 11.6 pages), 10 sources, APA, $ 86.95
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Abstract
This paper analyzes the various elements of Marxist ideology that arise within Andy Warhol's art works "100 Cans" (1962), "Marilyn Monroe" (1967) and "A Set of Six Self Portraits" (1967). It discusses the idea of commodity and cultural identity within these works and aims to reveal Warhol's medium and ideology in industrial American society. The paper shows how Warhol merges images of capitalism and mass production into his portraits.
From the Paper
"This was the biographical background for Warhol's interest in images of famous people, since he was obsessed with the way that people could become famous in the mass communications milieu of American culture. The use of photography could now capture a person's image and be broadcast to millions of people nationwide through the television. For icons like Marilyn Monroe, her image could now be processed and manipulated through media exploitation now that it could easily be replicated. In this way, the nightmare of Marx's human devaluation and exploitation of identity within a mass production industrial culture became realized; it was a beautiful dream-come-true for Andy Warhol and his choice of replicating popular icons in American society."
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Images and Meaning, 2007.
This paper explores Roland Barthes' and Victor Burgin's analysis of photographic images.
1,223 words (approx. 4.9 pages), 3 sources, MLA, $ 41.95
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Abstract
The paper presents a comparative analysis of two images from Roland Barthes' Camera Lucida photographic images; Andre Kertesz' "The Violinist's Tune" and Nicephore Niepce's "The Dinner Table". The paper shows how an artist such as Victor Burgin would disagree with Barthes' view that photographs lack codes and would contend that even innocuous images can contain complex ranges of political and ideological codes.
From the Paper
"Barthes' reading of The Violinist's Tune is particularly interesting for it allows us to understand how Barthes conceives of the reading of images as often a highly personalized affair. While he situates his reading in terms of his theoretical apparatus of studium and punctum, it is important to note that his response to this image cannot be precisely determined by this theoretical frame. Barthes defines the concept of studium as a taste or interest in a thing: "a kind of general, enthusiastic commitment" (Barthes 26)."
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Rococo and Baroque Art, 2007.
This paper discusses the evolution of eighteenth century visual arts.
2,024 words (approx. 8.1 pages), 8 sources, APA, $ 64.95
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Abstract
The paper analyzes the evolution of baroque art into the Rococo style of the 18th century. The paper examines the Baroque works of Annabale Carracci and Caravaggio and contrasts them to the work of Rococo artist Antoine Watteau. The paper shows how art evolved into a style that reflected government and new political ideologies in the Age of Diversity.
From the Paper
"The Rococo period as logically been constructed through the humanism and classical values instilled within the Baroque period. The rococo period in Europe reflects the ideological aims of visual art, which became manifest during the time of Voltaire, Rousseau and the American Revolution. Although the American visual arts did not reflect the extravagance of the monarchical pomp of the French courts, it is clear that Rousseau and Voltaire were struggling for a new type of liberation in within what might be called "the Age of Diversity". To truly understand the innovations in style for the Rococo period, one must evaluate the reasons why this form of visual design became realized in the 18th century. Certainly, the Baroque period was a continuation of the logic and reasoning that was instilled in the Age of Enlightenment--via classical design and visual art representations. In this manner, the Baroque period must be compared and contrasted with Rococo art to realize the impact of the highly stylized visual arts that emerged within the 18th century."
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Children's Books by Maurice Sendak, 2007.
Compares Maurice Sendak's illustrations in her book "Where the Wild Things Are," with her illustrations in "Little Bear's Friends," written by Else Holmelund Minarik.
1,461 words (approx. 5.8 pages), 4 sources, MLA, $ 48.95
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Abstract
This paper compares and contrasts the illustrations of Maurice Sendak in two children's books - "Where the Wild Things Are," written by Sendak herself and "Little Bear's Friends," written by Else Holmelund Minarik. The paper begins by describing the role that artists play in picture books and then discusses the importance of the illustrations. The paper also describes how effective the illustrations are in each of these books.
Table of Contents:
Evaluation of "Where the Wild Things Are"
Evaluation of "Little Bear's Friend"
Comparing "Where the Wild Things Are" and "Little Bear's Friend"
From the Paper
"Now, it is time to evaluate the two books and how they are similar or different. Where the Wild Things Are is not only illustrated but also written by Maurice Sendak, while Little Bear's Friend is written by Else Holmelund Minarik. Where the Wild Things Are is larger and has more illustrations than the second book. It also is more colorful than the second book. While there is only a line or two per page in Where the Wild Things Are, the Little Bear's Friend has four to six lines of words. The first book is designed for earlier ages than the second book, but all ages would enjoy looking at the illustrations of the first book. Both books are designed to teach a moral lesson. The first book teaches Max that even though his parents may discipline him they still love him, while the second book teaches a lesson on the importance of friendship. Both of these books compare to other children's books for these ages. The words in both books are age appropriate for four to eight year olds. Younger children will enjoy Where the Wild Things Are more than Little Bear's Friend."
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The Baroque Era, 2007.
An analysis of the key aspects of baroque era philosophy and painting styles.
986 words (approx. 3.9 pages), 1 source, MLA, $ 35.95
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Abstract
This paper examines the key aspects of baroque philosophy and painting, which became manifest during the 17th and 18th century. It describes the works of various artist from this period and examines how realism, a strong appeal for decoration and humanism are the key aspects of Baroque painting styles and philosophical discourse. The paper describes the key aspects of the painters and important thinkers of the baroque period as seen in their major works.
From the Paper
"In conclusion, the baroque era offers various styles of painting that are unified in their reality, details, and the most important aspect of the era: humanism. The underlying reality of life after the medieval period showed signs of the classical revival of Platonic thought and realness, which was previously dominated by the mythic sensibilities of the 16th century and earlier. These three aspects of baroque painting and history define the historical revival of classical thought in this period of European history."
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Film-Making College Application, 2007.
The paper concerns a college application regarding studies in film-making.
926 words (approx. 3.7 pages), 0 sources, MLA, $ 32.95
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Abstract
This article concerns a personal statement in which the writer states a life-long desire to be a film-maker. This article serves as a college application in the field of film-making. The writer states a belief that everyone has the potential never to stop growing until the day one dies and that is a reason why film appeals to the writer so. The application is concluded stating the writer's sincerity and great love for the art of making films, which resonate long after the final credits have rolled and the lights have dimmed.
From the Paper
"As a film-maker, I want to be able to resurrect a great figure, pull back the veil of mystery surrounding a famous crime, or capture the spirit of a by-gone era. For reasons such as those, I am especially interested in cinematography and in editing - but I am eager to explore and to learn about all aspects of the film-making process."
"As a citizen, my goal is constant personal evolution. I believe that each of us has the potential to never stop growing until the day we die and that is one other reason why film appeals to me so: at its core, it is the most dynamic of all the creative arts - it gives life and motion to words on a page, after all - and I want to experience the pleasure of constantly molding and crafting a living, breathing, growing film until I am finally satisfied that it has been "done right"."
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Creativity and Teaching Methodology, 2007.
An analysis of the importance of nurturing creativity in children.
878 words (approx. 3.5 pages), 1 source, MLA, $ 31.95
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Abstract
This paper discusses how creativity is natural or an innate exploration of new ideas. It then discusses the importance of a creative approach in nurturing creativity in children and how it should be used in a teaching environment. Finally the paper describes methods for instilling creativity in children. The paper bases its discussion on "Art and Creative Development for Young Children" by Robert Schirrmacher.
From the Paper
"One method for instilling creativity in children is to firstly understand the basis of learning models for children with these learning sets. For example, if creativity is defined as being "artistic", then the teacher should learn the basic concepts of paintings or other forms of artistic expression such as drawing, sculpting, etc. By garnering a knowledge in this form of creativity, the teacher should be able to relate these tools of creativity to help the child build skills along established standards. However, the pure physicality and exploration of art may only require the teacher to provide paints, clay or whatever building blocks that helps the child "play" with materials. This will help bring out possibly innate creative qualities that will support a more open response on the part of the child to learn how to be creative."
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Janine Antoni's Art, 2007.
This paper compares and contrasts the artworks "Loving Care" and "Mom and Dad" by Janine Antoni.
1,023 words (approx. 4.1 pages), 5 sources, MLA, $ 36.95
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Abstract
This art study compares and contrasts the basis of pop art and performance art within the two works; "Loving Care" and "Mom and Dad" by Janine Antoni. The paper demonstrates how Antoni works within two different mediums within the context of these pieces, but keeps the central aspect of gender conflict that arises in modern society. The paper illustrates how Antoni reflects older traditions in the modern mass media perspective, but adds social and technological elements of her generation within her works.
From the Paper
"The first work to be examined is entitled "Loving Care" (1993) by Janine Antoni. Although this performance piece has to be witnessed to be fully experienced, the photograph used in this study will seek to define the actual principles of what Antoni was trying to accomplish in this piece (Antoni "Love and Care"). The medium of this performance uses black hair dye, which is applied from a bucket to the hair of the artist. The dye is then spread with the hair much like a mop on the floor. The immediate commentary on this type of dye application revolves around the protest of beauty and women within the household. Immediately, there is a sense of the woman acting as a servant not with cleaning agents, but with the normative standards of beautification that the dye symbolizes for women in the modern era (Goldberg 229-231)."
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Raphael Sanzio, 2007.
An outline of the life and works of artist Raphael Sanzio.
1,028 words (approx. 4.1 pages), 4 sources, MLA, $ 36.95
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Abstract
The paper describes Raphael Sanzio as a prolific and gifted sixteenth century painter. The paper relates that he primarily concentrated on works with a religious focus and is best known for his many depictions of the Madonna. The paper provides a brief biography of his life and concludes that although he died a young man, Raphael Sanzio has a deservedly prominent place in art history.
Outline:
Biography
Inspiration and Artistry
The Madonnas
School of Athens
Conclusion
From the Paper
"Raphael was born in Urbino, Italy, on April 6, 1483 (Urton par. 1). Much of his early artistic training came from studying with his father, Giorgio Vasari, who Emil Kren and Daniel Marx describe as "a man of culture who was in constant contact with the advanced artistic ideas current at the court of Urbino," although he did not have great artistic skill himself. After his father's death, Raphael went on to study with Pietro Perugino, in Perugia, Umbria, where he may have arrived as early as 1495 (Urton par. 1, Kren and Marx par. 4). Kren and Marx indicate that he was already called a "master" by 1505, at which time he received his first major commission (par. 4)."
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