| Papers [11-20] of 1926 :: [Page 2 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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Egyptian Funerary Art, 2008.
An examination of canopic jars as an example of funerary art of the Amarna period, compared with earlier art on these jars.
1,621 words (approx. 6.5 pages), 5 sources, MLA, $ 52.95
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Abstract
This paper discusses funerary art of the Amarna period in Egypt: 1372-1350 BC. It looks at how Amarna art differs from the stylized representations found in older art forms. The paper focuses on examining the canopic jar as it appears in the Amarna period and then compares these to earlier art on these objects. The paper includes photographs for visual explanation. It suggests that technology played a major role in the development of art throughout the period.
From the Paper
"This level of detail and portrayal of emotion occurs in other changes in the representation of the royal family. During the Amarna period, we begin to see representations of the royal family showing affection to his daughters. In the past this was strictly taboo and the royal family was represented as emotionless (Smith, p. 186). During this period we begin to see the royal family represented in a more humanistic attitude. They begin to be portrayed as humans, rather than above the capability of human emotion. This change in attitude broke traditional conventions and represented a new paradigm that permeated Egyptian art from this point forward."
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Buddhist Art, 2008.
A review of the of early Buddhist architecture, art and culture in Japan.
1,333 words (approx. 5.3 pages), 4 sources, APA, $ 44.95
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Abstract
The paper discusses Japanese art, largely influenced by Zen Buddhism, which has left its mark in white and black ink art, buildings, gardens, and the graphics in the tea-ceremony rooms. The paper mentions the Horyu-ji Temple as the first and finest example of the use of Korean and Chinese Buddhism in Japan. The paper also makes reference to the art of Jomon culture and the Kofun or Tumulus period and notes that it was in the mid-sixth century that Buddhism reached Japan. The paper highlights the concepts of Buddhism and states that its culture was introduced by Korea into Japan. This began Japan's first cultural awakening and the history of what today is recognized as Japanese art.
From the Paper
"The Shaka Triad is one of the oldest bronze images. It is located in the Golden Hall. It is six feet tall and was designed by the the famous sculptor Tori Busshi. Its image displays the Buddha Shakyamuni sitting between two Bodhisattvas. The Shaka has his legs crossed. His hands are placed in one of a number of mudras. "He has a protuberance on his head and a third eye that indicate extraordinary knowledge and vision and are among some twenty three bodily signs introduced by the Mahayana Buddhist to indicate [shaka's] superhuman qualities" (Varley, 1984:26). The empress Suiko asked Tori Busshi to make the statue after Shotoku Taishi, the leader of Horyu-ji, died. "
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Wiener Werkstatte, 2008.
A report on Wagner's musical concept of Gesamtkunstwerk ("total artwork"), the balance of visual, musical and dramatic arts.
3,565 words (approx. 14.3 pages), 1 source, APA, $ 99.95
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Abstract
The paper states that the idea of the Gesamtkunstwerk, or "total integrated work of art," was developed by Richard Wagner to describe what he was trying to do with his opera - that is, to blend all of the arts together into a single, unified whole. The paper comments that artists belonging to the Wiener Werkstatte, inspired by the concept of the Gesamtkunstwerk, took this concept as their ultimate artistic goal. While in the end, due largely to funding problems, the Wiener Werkstatte failed, it nonetheless left an indelible mark on the artistic accomplishments of the Weimar era in Central Europe. Following on, the paper discusses the accomplishments, and shortcomings, of the artists and craftsmen of the Wiener Werkstatte to determine to what extent they were associated with this movement in order to attain the heights of the Gesamtkunstwerk.
Outline:
The Beginnings of the Wiener Werkstatte
Aesthetic Tendencies within the Werkstatte
Major Architectural Achievements of the Wiener Werkstatte
Purkersdorf Sanatorium
Palais Stoclet
Villa Ast
Villa Skywa-Primavesi
Sonja Knips House
Fashion and Product Design
Politics and Aesthetics: The Wiener Werkstatte in the Weimar Republic
Decline and fall of the Wiener Werkstatte
From the Paper
"Founded by Josef Hoffman, Koloman Moser and Fritz Warndorfer, the concept of the Wiener Werkstatte is said to have originated in coffeehouse discussions amongst the three protagonists. As early as 1899, a groundwork or blueprint had been laid. The foundation of the Wiener Werkstatte called for a unity between art and craftsmanship, suggesting a series of workshops in which artists and craftsmen alike can work as well as learn from each other; thus the original idea of the Wiener Werkstatte was artistic as well as pedagogical."
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'Death of Marat', 2008.
This paper studies Jacques-Louis David's painting 'Death of Marat'.
1,565 words (approx. 6.3 pages), 2 sources, APA, $ 51.95
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Abstract
In this article, the writer notes that the famous painting 'The Death of Marat' by Jacques-Louis David is considered to be a masterpiece of neoclassical art. It is also probably one of the most iconic images of the French Revolution. The writer describes that in the center of the painting, the torso of a bleeding, dying man emerges. In his left hand, resting on a table, is a piece of paper with writing on it, while in his right hand, falling down to the ground, is a quill. The writer discusses that David's 'Death of Marat' is meant to dramatize the moment when Jean-Paul Marat, who published the radical newspaper 'The Friend of the People', was murdered. The event occurred dramatically when Marat was writing in his bathtub. The writer maintains that it is largely thanks to the 'Death of Marat' that David is now regarded as one of the great painters of the French Revolution. The writer concludes that the 'Death of Marat' can be found in the Royal Museum of Fine Arts in Brussels, although copies of the painting, created in the revolutionary fervor that followed its unveiling, are on display in museums throughout France.
From the Paper
"It is also not coincidental that David, of all people, would choose to depict Marat's death via painting. Like Marat, David had close ties to the Jacobins. A strong supporter of Robespierre, David became close friends with Marat during his lifetime. Marat and Robespierre both had the charisma and talent of overwhelming large masses of people through their speeches and actions. David would take on the responsibility of organizing Marat's funeral, as well as painting this beautiful, moving homage to the fallen hero. It is in many ways reminiscent of one of his earlier paintings, The Death of Lepelletier de Saint-Fargeau.
"David completed The Death of Marat in a very short time span. It would go on to become one of the most famous paintings of Neoclassicism, and is frequently evoked as David's best painting. Many critics have also evoked David as a precursor of Modernism, thanks to The Death of Marat."
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Alfred Hitchcock's "Rear Window", 2008.
An analysis of the movie "Rear Window," directed by Alfred Hitchcock, focusing on character development and the use of voyeurism.
1,126 words (approx. 4.5 pages), 5 sources, APA, $ 39.95
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Abstract
This paper discusses Alfred Hitchcock's movie "Rear Window," and the way in which the main character, Jeff, develops into an obsessive voyeur as a result of becoming a temporary cripple. The writer discusses Jeff's relationship with his girlfriend, Lisa, and how it changes as her character develops in the movie. The writer also discusses the distinct approach of the camera angles used throughout the entire filming of the movie and how they help to create a feeling of entrapment.
From the Paper
"Stewart's character, Jeff, develops an intriguing pattern of voyeurism through the course of the film, which ultimately dictates into a direct obsession. Birthed as a mere distraction and effort to kill time, Jeff's voyeuristic curiosity begins to mold into a forthright obsession developing further as a result of several key happenings. Jeff is undoubtedly taken by a certain power he feels in being able to pry and spy into the lives of individuals, which, importantly noted, are unsuspecting individuals. This aspect feeds the voyeuristic nature, and nurtures the concepts of thrill for both the audience and Jeff as a character (I.M.D.B., 2007). This voyeurism proves to become more than a simple distraction or time utilizing endeavor, it becomes somewhat of an unhealthy display of inquisitive compulsion."
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"Stories of Art", 2008.
A critical review of James Elkin's "Stories of Art".
1,578 words (approx. 6.3 pages), 1 source, MLA, $ 51.95
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Abstract
The paper explains James Elkin's argument in "Stories of Art" that art survey courses are often accepted by undergraduate students as having absolute academic authority as to what constitutes art and its history. The paper discusses how Elkins asserts that there are many stories of different artists, genres, peoples, and nations and every book or class on art is at least slightly biased and inadequate, since it is dependent upon the author or teacher. The paper concludes by pointing out the problem with Elkins' concept of stories of art.
From the Paper
"Imagine a book that was entitled 'World Literature A-Z' or 'Science--Everything You Need to Know.' Very likely, you would be suspicious of such texts as superficial, and would not regard them as serious, academic overviews that treated their subject matter in any real depth. Yet according to James Elkin's Stories of Art, art survey courses often adopt a similarly inclusive project into their own ambitious scope. They are accepted by undergraduate students as having absolute academic authority as to what constitutes art and the history, or story of art. But Elkins argues that: "The single story of art is too flawed to function as the repository for the current sense of art history... Already the major art historians keep a mile away from survey texts: such books are written...by minor art historians who are more involved in teaching than in shaping the discipline (Elkins 130)."
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John Singleton Copley, 2008.
An analysis of how American artist John Singleton Copley synthesized the experiences of the New World with the traditions of European art.
3,302 words (approx. 13.2 pages), 5 sources, MLA, $ 94.95
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Abstract
The paper examines John Singleton Copley's painting "Mars, Venus, and Vulcan: The Forge of Vulcan" and shows how it is an early attempt to apply an American view to a quintessentially European subject. The paper also analyzes his famous paintings "The Boy with the Squirrel" and "Watson and the Shark". The paper shows how Copley imbibed the techniques and styles of his native land and fused them with the copied European works that he saw displayed in America.
From the Paper
"One of the foremost painters of his generation, the American John Singleton Copley brought the experiences of the New World to the traditions of European art. Born in Boston in 1738, Copley grew up in a world that, in his words, regarded painting as, "no more than any other usefull trade, as they sometimes term it, like that of a Carpenter tailor, or shew maker, not as one of the most noble Arts in the World." The American colonies were provincial adjuncts of the British Empire. Massachusetts, like the most of the Northern colonies, was commercial in outlook. Boston was a growing center of trade and small crafts, but not much more. Art and artistry were still thought of as something alien to the rough and ready world that was still being carved out of the pristine wilderness."
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Italian Baroque, 2008.
A discussion on the differences between Baroque and Renaissance styles of art.
1,826 words (approx. 7.3 pages), 6 sources, MLA, $ 58.95
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Abstract
The paper demonstrates how the Baroque style did not represent a powerful departure from the art of the Renaissance, but, on the contrary, it embraced the legacy of the Renaissance and expanded it in themes and artistic technique. The paper analyzes three specific paintings, "Young Virgin Mary" (1632-3) by Francisco de Zurbaran, "The Holy Family with the Infant and St. John the Baptist" (1602-4) by Caravaggio and "The Supper at Emmaus" (1622-23) by Diego Rodriguez de Silva y Velazquez to illustrate this point.
From the Paper
"Art is the expression of artistic vision that carries the sign of the period of time when it was created. Baroque was born Italy from where it spread to France, Germany, Netherlands and Spain. The term "Baroque" was coined by 19th century critics, and refers to the period that started in late 16th century and ended towards the late 1700s. The Baroque style, used in architecture, sculpture, painting embodied the scientific developments - such as advances in astronomy for example - that determined a shift in the European view of the world."
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California Landscape Art, 2008.
An examination of the changing nature of landscape art in California between the 1800s and the 20th century.
2,843 words (approx. 11.4 pages), 10 sources, MLA, $ 84.95
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Abstract
This paper discusses how artistic description of the environment sheds light onto the evolution of the historical and social development of the area, from a natural scene to a human one. It specifically looks at the way that landscape art of California from the late 1800s tried to capture the true essence of the Californian environment and how the landscape art in the 20th century became more oriented toward people and their everyday existence.
From the Paper
"His work, "Large Interior Los Angeles" is relevant in this sense. Unlike most of its predecessors who considered the Californian landscape to be exclusively an outdoor experience, Hockney addresses the same issue by pointing out a different side of California. Indeed, it cannot be fully defined as a landscape, nonetheless it represents an environment in which people live their everyday lives and which plays a similar role to the one the steep mountains of the Yosemite Valley played for the Indians. The innovative element in his painting however is the ease with which he managed to transpose an intimate living space onto to a theme available for the general public. Without too many details, the artist manages to convey the sense of coziness and warmth. From the point of view of a regular viewer, the impression is that of a personal yet open space, similar to the idea captured from previous works analyzed. Also, despite the fact that there are no apparent details to suggest an integration in a certain geographical space, the image leaves the feeling of a traditionally well off American family in the sunny Californian landscape."
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'The Flanders Panel', 2008.
This paper studies the novel 'The Flanders Panel' by Arturo Perez-Reverte.
922 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
In this article, the writer notes that the mystery novel 'The Flanders Panel' is set in the contemporary art world. The writer explains that the main protagonist in the book is an art restorer and amateur detective, determined to solve a murder that occurred centuries ago. The writer studies the book and maintains that the old truth about many mystery novels holds true in 'The Flanders Panel' as one of the more sympathetic and unlikely killers is in fact the source of all of the turmoil depicted in the novel. The writer concludes that 'The Flanders Panel' is a potboiler, a dark but ultimately escapist read, and no masterpiece, although it attempts to deal with the implications of masterworks of art in history.
From the Paper
"Julia begins to read more and more about Arras, the circumstances that spawned the composition of the painting, and begins to feel as if the characters in the painting are familiar to her as her own friends in Madrid, Spain, where the mystery is set. However, the authorities at the Prado museum, which charged Julia to restore the work, seem uninterested in her finding beyond the word's significance to art, and they merely wish Julia to continue her restorative work on the same level of quality as always.
"Looking for further information and aid that cannot be provided by texts alone, Julia first turns to her old guardian, Cesar, a cultivated, gay, gin-sipping art dealer, who knows a great deal about art, but has very little inclination towards learning about chess."
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