| Papers [41-50] of 1926 :: [Page 5 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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Dr. Seuss, 2008.
This paper discusses the impact of the illustrations in Dr. Seuss books on the reader.
752 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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Abstract
This paper looks at the illustrations within Dr. Seuss books, which have been an essential part of American children's literature for ages. The author of this paper asserts that the artwork within Dr. Suess books tells its own story, emphasizing the story being told, embellishing it and taking the story to another level. Specifically, the author asserts that it is the exacting style of the drawings that urge the reader to look back and forth between the picture and the story, making full use of the mind and the imagination therein. This paper assesses the use of shape, color and contrasts in particular.
From the Paper
"On the pages 'Eat at Skipper Zipp's' the ship with three different colored flags and a strange color smoke rising above it is accessible by walking on a bright orange pier. It's an eye-opening, stark scene but some planks are missing (which are made obvious by the contrasting blue water) and the whales approaching are a shade of blue close to the color of the ocean, which gives a realistic sense of how much marine mammals look like their environment. The pages 'West Beast East Beast' feature beasts that are green with purple hair and purple tails. The lines that make up the tails resemble the weird-looking orange plants on the yellow island. The texture of the "island" looks nearly the same as butter on a previous page."
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Art as a Mirror of Society, 2008.
This paper examines two works of art, the "Venus of Willendorf," a prehistoric artifact, and Manet's "Paris" in order to discuss how humans define art and the meaning of art.
6,805 words (approx. 27.2 pages), 23 sources, APA, $ 154.95
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Abstract
This paper looks at how people view art. It states that when viewing any work of art, one immediately begins to make sense of the image in terms of how it relates to the world one knows, as well as what one has been taught about history. Not only does society seem to influence the ways in which art is produced - society is often reflected in the works of art itself. Along these lines, this paper aims to answer the question of whether or not people use ancient artifacts that pre-date written culture as a means of "reading" the society that existed during that era. In the case of ancient artifacts such as the "Venus of Willendorf," ultimately modern analysis can only guess by relating the piece's history to modern ideas of what gender might have signified to ancient prehistoric civilizations. However - in the case of Manet - people are able to get a better view of the ways that society and art impacted one another through the use of primary and secondary sources. In contrast between the Venus and Manet's pieces, it can be said that the relationship between art and society is in fact conditioned by a third factor, which is the main subject of this paper - that of history. Without all the written records of the 19th century that have been kept, people might have no way of knowing what they are looking at when they study a Manet painting. Furthermore, "works" - or, perhaps more aptly, artifacts - such as the Venus thus cause people to reconsider what the true definition of art is.
Outline:
The Venus of Willendorf: Women in the Stone Age
Manet's Paris
Women in Manet's Art
Conclusion
From the Paper
"Manet's painting was firmly rooted in Paris of the mid-19th century. It is thus not difficult for us to get a glimpse of what society was like in that time and place by looking at Manet's paintings. Looking at the Venus of Willendorf, however, does not tell us anything about the society that it is a relic of. It thus requires us to use our intellects and our imaginations in order to piece together an explanation that might satisfy us personally, but can never be held up as a firm example, as we can with Manet's paintings. Thus, it can be said that the relationship between art and society is in fact conditioned by a third factor, which has been the main subject of our inquiry - that of history. Without all the written records of the 19th century that have been kept, we might have no way of knowing what we are looking at when we study a Manet painting. This truth comes to the surface when we look at the Venus, which comes from a period that pre-dated all known forms of writing."
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Two Renaissance Paintings, 2008.
This paper compares the two Renaissance art pieces, "Mars and Venus United by Love" (c. 1570) painted by Paolo Veronese and "The Miracle of the Loaves and Fishes" (c. 1545-50) painted by Tintoretto.
1,238 words (approx. 5.0 pages), 6 sources, MLA, $ 42.95
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Abstract
Some painting styles are associated with certain regions and certain time periods, and in the Renaissance, artists from certain cities would express their version of a style and even a subject matter. Two such instances from the Venetian area in the sixteenth century are discussed in this paper, both at the Metropolitan Museum of Art in New York. The first is "Mars and Venus United by Love" (c. 1570) painted by Paolo Veronese, a mythological subject; and the second is "The Miracle of the Loaves and Fishes" (c. 1545-50) painted by Tintoretto (Jacopo Robusti).
From the Paper
" Mars is identified by his armaments, though in this case he is identified primarily by the uniform he wears and by the helmet that is on the ground by his feet. His sword is being used by one of the cupids, who used it to keep the horse to the right from moving forward. The weight of the painting shifts the eye to the left side of the frame, as does the lighter coloring of Venus's skin and her chemise, which is tossed across a wall. Against her skin, the darker head of Mars is framed as he gazes down at the Cupid who is tying Venus's leg to that of Mars, suggesting that the title of the painting is to be taken literally. Venus is also watching her Cupid with some indulgence as the knot is tied. The three primary figures in the painting, then, are all shifted to the left, and the way the two principals are gazing forward at the Cupid in the lower left corner causes the viewer as well to shift his or her eyes in that direction and so to see the tying of the knot, the central action of the painting. Additionally, the curve of Mars's back as he leans to the left matches the slight shift of Venus's body to the right to form an arch over the Cupid. Mars holds a dark cloak, which drapes across Venus's lap, and the darkness of the cloak allows the whiteness of Venus's leg and Cupid's skin and wings to stand out even more in the lower corner."
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Art, Sex, and Freedom of Expression in Asian Art, 2008.
An analysis of sex and sexuality in contemporary Asian art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper explores the expressions of sex and sexuality in the contemporary art of three Asian nations: Japan, China, and South Korea. The paper also looks at public and critical reactions to such works of art, in order to gain insight into the role sex and sexual art play in Asian cultures. The paper then points out that to a Western viewer, images of sex in contemporary Asian art are often shocking in their explicitness or sheer strangeness. The paper explains that once we begin to understand the context in which it has emerged, the representation of sex in contemporary Asian art is analogous to our own in the Western world. The paper concludes that sex is clearly a universal area of interest for artists from all over the world. While some nations, such as the Japanese, are free to explore the subject in all its glorious, perverse, and occasionally horrific detail, other nations punish their artists for making the most minor transgressions.
From the Paper
"In Japanese art, what comes across as shocking to an American audience does not necessarily seem so to the Japanese themselves. This is because the Japanese do not carry the burden of Christian guilt, nor have they been influenced by the Puritan ideals that continue to surface in American discourse. Indeed, the Japanese have a much more open attitude towards sex than any other nation in Asia. Sex in art, however, is often used to challenge accepted modes of discourse in Japanese culture, and is thus considered to be a tool of dissent. This is particularly true for Japanese women artists who wish to challenge the Confucianist idea of women as submissive beings."
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Art History, 2008.
A discussion of various movements and works over the course of the history of art.
2,093 words (approx. 8.4 pages), 4 sources, MLA, $ 65.95
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Abstract
This paper discusses the various periods and works in art history. The paper explains that the Gothic and early renaissance periods represented periods of rebirth in art. The paper looks at why one of the permanent sources of art is nature. The paper then analyzes the "Labors of the Months", which according to several historians, made its first impact in classical iconography as early as 800 or the 9th century AD.
From the Paper
"The representations of the labors of the months are found in two Anglo-Saxon manuscripts. Both are written in the 11th century, although one dates in the first half of the century and the other in the second half, which might explain the influence of the Norman invasion along the way. One was created in Canterbury, while another was made in Winchester. All the representations for the months are common between the two, except for the three months of summer, June, July and August, where the same activities (cutting wood, mowing and reaping) are placed in different months depending on the manuscript."
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Review of "Leadership:Eagle" Print, 2008.
A critique and recommendation of an anonymous art print entitled "Leadership: Eagle".
965 words (approx. 3.9 pages), 0 sources, $ 34.95
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Abstract
This paper describes "Leadership: Eagle", a print by an anonymous artist and offers reasons why it should be displayed in the author's workplace. The paper discusses the work's composition, aesthetic elements and principles, and iconography. It clearly presents a case for the committee deciding the matter and states why the artwork was chosen. To conclude, the paper recommends the print because it visually and ideologically complements a previously existing print already displayed there.
Outline:
Composition
Elements of Art
Principles of Art
Iconography
My choice of artwork
Description
The Case for the Committee
Concluding Remarks
From the Paper
"The picture depicts a textual message superimposed upon the focal point of the window. As the focus of the picture, window is the largest shape in the work. The dancer who looks up towards the window is the second dominant figure in the picture, and appears to strive towards the message and its fulfillment. As such, the hue of the window and the attitude of the dancer conspire to emphasize the message of the text: strength or misery is a choice that each individual makes. The dancer strives towards the choice of strength, with the light in front of and above her working to assist her."
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Antoine Watteau, 2008.
An analysis of the art piece, "Two Studies of the Head and Shoulders of a Little Girl" (Pioch), by Jean-Antoine Watteau, focusing on the medium and the natural materials prevalent in this piece and time period.
1,070 words (approx. 4.3 pages), 4 sources, MLA, $ 37.95
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Abstract
In "Two Studies of the Head and Shoulders of a Little Girl" (Pioch), some of the simplistic yet profound art Jean-Antoine Watteau has become renowned for is illustrated. The medium is red, black and white chalks on buff paper, which creates an authentic atmosphere of warmth and even affection. The presence of red is often a profound element in both the background and foreground of Watteau's art and is almost never missing as a rococo element of life and design. This paper discusses the use of chalk as a medium. It also discusses the natural materials used in painting and drawing in the eighteenth century that pervade Watteau's works.
From the Paper
"While this is certainly true, it appears that here Watteau devoted a great deal of detail and imagination to create the lovely expression on this child's face and the almost carefree and innocent positioning of her body and expression from two angles. However, a quick perusal of the artists subsequent works such as Pilgrimage to Cythera, 1717; Les Charmes de la vie, The Delights of Life-1718; Gilles, 1718; and Le Faux pas, The Misstep -1719 (Harden), finds that there are no children to be seen, only adults. However, if you look at the faces of the female figures you can see shades of this drawing in their expressions and their attitudes. By using this study of a young face unspoiled by work or drudgery or the anxieties of life, Watteau is able to capture an innocent and natural beauty and place this in the faces and positions of these adult women. This adds to the natural order of play and zest in his work without invoking the baser sensual elements of lust and desire."
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Michelangelo and Bernini, 2008.
This paper uses Michelangelo's "David" and Bernini's "The Rape of Persephone" to describe both the Renaissance and the Baroque periods in Italian sculpture.
2,330 words (approx. 9.3 pages), 4 sources, APA, $ 71.95
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Abstract
This paper uses the works of Michelangelo's "David" and Bernini's "The Rape of Persephone" as representative creations for the Renaissance and the Baroque periods in Italian sculpture. This paper looks at the majestic expression of the characters, the dynamism of Bernini's work and the innovative techniques used in both, to illustrate how the sculptures stand out as masterpieces of innovative art.
From the Paper
"Bernini is the most prominent sculptor of the Italian Baroque period. This statuary group is a very good exponent of his entire body of work as far as sculpture as it displays his impressive ability to handle marble and to create realistic images and tension - mimesis - as well as his skills in giving the impression of variegated color and in playing with strong light and dark contrasts. The statuary group illustrates the mythical episode of the abduction of Persephone, the daughter of the Roman god Ceres by Pluto, the god of the underworld. In Roman mythology Persephone represented the goddess of fertility and harvest. As the legend goes, Persephone's mother manages to convince Pluto to allow her daughter to spend half of the year on earth and the other half in Hades, Pluto's kingdom of the underworld. This is why, every spring, flowers blossom and natures comes alive to welcome young Persephone back to earth. The statue was executed by Italian sculptor Bernini between 1621 and 1622, more than a century after Michelangelo's David. It was commissioned as a gift from Cardinal Scipione to Cardinal Ludovisi. In fact, the statuary group remained in his villa until 1908 when the Italian state purchased it and gave it to the art collection of the Borghese Villa in Rome."
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Iconographic Representation in Greek Art, 2008.
An analysis of the ancient Greeks' representation of their gods.
1,560 words (approx. 6.2 pages), 3 sources, MLA, $ 51.95
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Abstract
This paper examines the representation of gods in Greek art, and the very rigid patterns and canons that had been imposed by the masters of the past. The paper holds that those rules were followed religiously by art pupils, who learned the crafts to continue traditions. This is one reason why artistic representations of gods and goddesses show very similar features and obey to the same anatomical rules of body structure and proportion. The Greeks believed that the gods were perfect and their goal was to represent this perfection by finding the key to flawless harmony of features and lines. The paper argues that this created some troubles in representing a vast range of deities, since they all looked alike for following the same anatomical rules. The paper concludes that Greek representations of gods or heroes usually present only the best part of those characters, even if sometimes placed in human positions, with weaknesses, adversities and frustrations.
From the Paper
"In Greek mythology Aphrodite was the goddess of love, lust, beauty and femininity. Although modern culture often refers to her as 'the goddess of love' it is important to state that ancient Greek conception of love was different from our days. The spiritual, romantic meaning of love, given by Christianity, is not what her power refers to. She is the goddess of sexual love."
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Diverse Methods of Pointillism, 2008.
A comparative analysis of the painting style of the pointillists George Pierre Seurat and Tim McWilliams.
1,963 words (approx. 7.9 pages), 6 sources, MLA, $ 62.95
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Abstract
Pointillism is often thought to be a relatively congruent painting style, utilized to create a sense of an object, often realistically without ever utilizing real forms and lines as a tool. This paper discusses how two accomplished pointillists, George Pierre Seurat and Tim McWilliams are far from contemporaries, as they are from two very different periods in two differing nations and how both embraced pointillism as their style of choice but with significant differences in style and completed results. By comparing the style and technique of Seurat's "Sunday Afternoon on the Island of La Grande Jatte" (oil on canvas, 1884-1886) with McWilliams' "Chicago Skyrockets" (acrylic on canvas, 2004), it attempts to show how the artist's distinct characteristics become evident.
From the Paper
"In a play on Words McWilliams calls his art form, neo-pointillism, as he feels he embodies the neo-impressionist movement, with a whole new modern flair of the dot, utilizing the very recognizable imagery of modern artists such as those of Andy Warhol. Many of McWilliams works reflect the style of Warhol in content, as one of McWilliams's favored subjects are the faces of iconic figures, such as Elvis and Einstein and to a lesser degree the iconography of the Chicago skyline, as is seen in the work detailed here. As McWilliams is a contemporary working artist, there are only limited literary representations of analysis of his works. In a local newspaper an article that depicts the nature and inspiration of his admired works, Hostettler summarizes the manner in which McWilliams works. "I'm pushing it (pointillism) toward its limits with color use." McWilliams said. "My work has been influenced by so many things since then." McWilliams said "...About 15 colors, which are used straight from the tube for maximum potency, are blended onto the canvas to produce the painting." (Hostettler NP) "
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