| Papers [191-200] of 1926 :: [Page 20 of 193] | | Go to page : <— 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 —> | |
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Film Production, 2006.
A review of an article by Erwin Panofsky in the publication "Style and Medium in the Motion Pictures".
1,654 words (approx. 6.6 pages), 2 sources, MLA, $ 53.95
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Abstract
This paper takes a look at the article written by Erwin Panofsky in the publication, "Style and Medium in the Motion Pictures". According to the paper, Panofsky writes that filmmakers could achieve true art by using techniques to both create and comment on the meaning involved.
From the Paper
"In no way can this be seen as simply a recording of reality, for it is not reality at all. It cannot be described in theatrical terms, for the way the world changes in the film could never be duplicated on stage. The larger plot might be seen in theatrical terms, with the young man falsely accused and his girl friend learning the truth and clearing him, but the film is more than a simple statement of lot and makes full use of the unique elements in the form to make this a film in the full sense and true art rather than borrowed art."
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What Does "Beauty" Mean in Art Today?, 2006.
A discussion regarding the modern concept of beauty in art.
2,174 words (approx. 8.7 pages), 6 sources, APA, $ 67.95
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Abstract
This paper takes a look at how Kant defines the concept of beauty in art and how it relates to the art of today. According to the paper, when it comes to the modern concept of beauty in art, there is often a very thin line between beauty and the grotesque. The paper reviews various works of modern art, discussing the beauty of each piece.
From the Paper
"The painting represents a bird and a heart, each placed on halves of a paper. The thing that first draws the attention of the viewer is the strong nuance of red that dominates the painting. Indeed, even the two shapes (the bird and the heart) are not actually sketched out as a shape, but are defined by the contrast in color between the nuances of red. It is quite an impression and perhaps another approach towards the concept of modern beauty, insisting on suggestion and inspiration rather than on exactly drawing lines and representing shapes. Given the fact that the message of the painting is barely implied by the elements forming it, as by it is by the title, everything is left to the own introspection of the viewer. "
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Impersonal Art, 2007.
This paper examines the modernist views of T.S. Eliot on art and literature.
2,076 words (approx. 8.3 pages), 5 sources, APA, $ 65.95
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Abstract
The paper discusses how T.S. Eliot, Ezra Pound, William Butler Yeats and James Joyce were the promoters of new aesthetic concepts that made art into something impersonal and elitist, rather than the expression of personal emotions or experience. The paper conveys their theory that art is not primarily inspirational, but is created according to certain formal patterns. The paper explains that the formal patterns are indeed determined by emotion, but are not solely translating the emotion, instead they are recreating it in an impersonal or objective form.
From the Paper
"The modernist aesthetic theories that developed at the beginning of the twentieth century brought a whole new perspective upon art and literature. Eliot, Pound, Yeats and Joyce, among others, were the promoters of new aesthetic concepts that made art into something impersonal and elitist, rather than the expression of personal emotions or experience. A piece of art is born out of the sedimentation in the mind of the poet of multifarious life or thought experience, of the type that is not necessarily seen as significant by the common man who has never written poetry. In the same way, according to the modernist views, art became not only impersonal but also elitist and abstract, full of numberless erudite allusions. The new was to be built on tradition and the palimpsest technique became almost an indispensable tool for the modernist artist."
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Mesopotamian and Egyptian Art, 2007.
This paper compares and contrasts the art and architecture of Mesopotamia and Egypt.
801 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
The paper discusses how the art and architecture of both Mesopotamia and Egypt are similarly drawn from their environment, geographical characteristics, climate and natural resources. The paper explains how Mesopotamians benefited from their natural wealth, while the Egyptians focused on their classic achievement, the pyramids. The paper notes that basic differences include the subjugated expressions of Mesopotamian art and architecture on account of their subjugation to other peoples, who envied their natural resources. On the other hand, the paper shows how Egyptian art and architecture document their uniqueness in every feature of the tombs, reliefs and statutes they built for their kings.
From the Paper
""Mesopotamia" is the Greek word for "between the rivers" and refers to that region between the Tigris and the Euphrates Rivers, presently occupied by Iraq, Turkley and Syria (Delahunt 2006). The region was occupied in ancient times by many groups, including the Sumerians, Akkadians, Assyrians, Amorites, Kassites, Persians, Greeks, and Chaldeans. They passed their powers on to the Arabs, who now occupy current-day Mesopotamia. There is little rainfall in this region and access to the two rivers has been difficult. People in the region have built dams and grew food in the rich soil. They built
canals in order to distribute scanty water, an activity, which united them. They also invented the plough to raise their cattle and sheep."
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Benjamin West, 2007.
An examination of the techniques employed by painter, Benjamin West, in "The Death of General Wolfe" and "Death on the Pale Horse".
1,467 words (approx. 5.9 pages), 8 sources, MLA, $ 48.95
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Abstract
This paper discusses the background and works of painter, Benjamin West. It begins by describing his rise to the level of an internationally recognized painter and then discusses in detail, some of his works. The paper describes West's techniques in "The Death of General Wolfe" and "Death on the Pale Horse." It ends with the writer's personal reflections on West's artwork and the meaning they convey.
Table of Contents:
I. Benjamin West
Portrait of Benjamin West
II. The Death of General Wolfe
A Touch of Bright
III. Death on a Pale Horse
IV. Who Immortalized Whom?
Personal Reflections
V. Present Treasures
From the Paper
"The Death of General Wolfe, an oil painted on canvas in 1770 by West, depicts James Wolfe's final moments during the 1759 Battle of Quebec, of the Neoclassical era. General Wolfe is reported to be portrayed West as a Christ-like figure in a triangular composition. ("The Death of General Wolfe") Benjamin West's prominence increased with his painting, The Death of General Wolfe, which portrayed the last moments of Wolfe, an English hero, on September 13, 1759. This visual symbol of the conquest of Canada during the triumph over the French at Quebec won West a massive amount of fame. In fact, James Northcote (1746-1831), who did not admire West, reportedly noted that anytime anyone spent five minutes with West, they would hear about his Wolfe."
"As West did not adhere to stringent prescriptions in color choices, some observers are taken aback that "The Death of General Wolfe" includes bright colors. The vivid hues' deep character, nevertheless, reconcile with this painting's tragic theme, while the "painterly sky" echoes the turbulence and tragedy occurring on the battlefield. Religious connections are embellished as the flag, with the arms of the men on the left stretched out, making a cross, reflecting "La Pieta,' a painting presenting the Christ being struck down. ("The Death of General Wolfe")"
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Graphic Design Technology, 2006.
A review of the history of graphic design technology.
2,318 words (approx. 9.3 pages), 13 sources, MLA, $ 71.95
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Abstract
This paper takes a look at graphic design and the history of graphic design technology. The paper classifies the milestones related to the use of such technology (from the date it was introduced to the dates of its modifications) and reviews what developments lie ahead.
Outline:
Introduction
Graphic Design
The Initiator of Graphic Designing
The Start of Graphic Design Technology
Change in Graphic Design Education
The Benefits Brought by Graphic Design Technology
From the Paper
"The idea of improving the methods of designing came up on early years of the 1950s. Several young designers of that time were trying to position themselves as commercial artists who were trained in studio art programs as either painters or printmakers. These drastic changes in goal was inspired by several European designers who ensured that their practice is used in more ways than just by appending artistic devices in selling soaps or other consumer products. The said designers were also the ones who revealed that they serve as between the client and the public. They filter information with the pursuit of placing the contents into visual contexts thereby enabling broader understanding. The same designers from Europe paved the way for other designers and aspiring ones to earn deep respect from their predecessors and colleagues particularly during the 1950s up to the 1960s (Thornton, 1996 para 4)."
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Hyperbolic Geometry, 2007.
An examination on using M.C. Escher' "Circle Limit III" to instruct students in hyperbolic geometry.
2,279 words (approx. 9.1 pages), 6 sources, MLA, $ 70.95
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Abstract
The paper examines how, though not always apparent, there are a number of significant connections between mathematics and art. The purpose of this paper is to demonstrate how the fundamental similarity between math and art can be exploited as a means to teach difficult mathematical concepts to students. To show how this could happen, a particularly complex--if intellectually intriguing--mathematical concept is explored: the concept of distance in hyperbolic geometry, specifically in a Poincare disk.
Outline:
Introduction
Context: What Is Hyperbolic Geometry?
Context: Who Is M.C. Escher?
Developing an Appropriate Class Project
Conclusions
Works Cited
From the Paper
"Since mathematics education produces singular anxiety for many students, this confluence with art presents significant possibilities for the imaginative educator (Granger 10). It is possible that we could, as educators, use art as a physical and visual means of explaining complex mathematical concepts in other than abstract terms. Over reliance on complex equations and difficult language can and will stymie many students. By endeavoring to ground mathematical theory in artistic reality, students can leans mathematical lessons in the process of seeing how math and art aren't really all that dissimilar."
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Minimalism in Interior Design, 2007.
This paper explores the method of minimalism in interior decorating.
2,411 words (approx. 9.6 pages), 7 sources, MLA, $ 73.95
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Abstract
The paper explores how minimalism can create a new direction in the interior design field and how interior design and minimalism will complement each other. The paper examines how minimalism in interior design would be marketable and how this type of interior design would work for a commercial setting. The paper discusses how the 'Minimalist' method holds great promise for interior decorators in applying their talents as well as in gaining work due to the lower costs involved. The paper also reveals that the marketability of minimalism in today's world market holds great promise in today's environmentally-conscious world.
Outline:
Objective
Introduction
Interior Design and Minimalism in a Working Relationship
Minimalism and the Creation of a New Direction of Design
Marketing Minimalism in Interior Design
Minimalism in Commercial Interior Design
Summary and Conclusion
From the Paper
"The first step in attempting to research and ultimately answer the questions posed in this research is to apply a definition to specifically what is meant by Minimalism in Interior Design. According to Gilbert Brownestone, a curator in Palm Beach, Florida and Paris: "Minimalism is simple to the point of complexity...It evokes a spiritual response from the viewer." (Kim, 2003) The definition applied in the edict of Mies van der Rohe is: 'less is more', Minimalism in architecture is a working method in which aesthetic force and capacity are employed to create an effect that astonishes without the aid of superfluous elements. Its essence ...and its intention is to accommodate life simply but beautifully." (Minimalist Space, 2006)"
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"Le Bassin des Nympheas", 2007.
A look at the painting by Claude Monet entitled "Le Bassin des Nympheas".
940 words (approx. 3.8 pages), 5 sources, MLA, $ 33.95
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Abstract
The paper discusses one of the most impressive pieces shown in the Denver Art Museum, Claude Monet's 1904 painting, "Le Bassin des Nympheas". The paper relates that this painting may not be the most famous, but it carries all Monet's trademarks and is just as beautiful as any other painting of his. The paper portrays how, as with other impressionist works, the striking element remains the brushwork and the way in which the mixing of vibrant colors on the canvas creates such shapes and feelings inside the viewer.
From the Paper
"The painting in discussion is more than a century old, having been done in 1904. Proportionately it is a square and, as the title suggests, the painting is a landscape whose main "character" are some water lilies of different colours, floating on the water that reflects the landscape around. The view is concentrated on the water surface, and the surrounding landscape can only be quested by its reflection, thus pointing out to the subject of the painting. The reflection in the water is hazy, so you can't really see what it is that is reflecting, so by contrast the water lilies appear clearly, even though they aren't more clearly painted, the brushwork hasn't been changed."
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Pablo Picasso, 2007.
This paper examines the life and work of Pablo Picasso between the years of 1932 and 1935.
2,805 words (approx. 11.2 pages), 11 sources, APA, $ 83.95
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Abstract
This paper describes the influences on Pablo Picasso's work during the years between 1932 and 1935. The writer cites the influence of Picasso's personal and romantic relationships as having a significant impact on his style and subject matter. The paper also details the friendly and respectful rivalry between Picasso and Henri Matisse, and the influence of surrealism on Picasso's work. Several of Picasso's paintings are described and analyzed.
Outline:
Introduction
Marie-Therese Walter
Matisse
The Paintings
Conclusion
From the Paper
"The renowned art critic Hebert Read characterizes the period between 1932 and 1935 as a period of intense creativity, psychological change and growth in Pablo Picasso's life. It is also seen a period of soul-searching and a change in style, which is characterized by portraits and paintings of archetypal female images. Read states that these archetypes and the style of this time were preceded by paintings such as Woman in an Arm-chair (1929) and the Standing Bather and Seated Bather of 1929. This style, according to Read, was to continue throughout the rest of Picasso's career. (Read 149/150)"
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