| Papers [1-10] of 1888 :: [Page 1 of 189] | | 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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Inigo Jones, 2008.
A discussion on the life and work of Inigo Jones.
925 words (approx. 3.7 pages), 4 sources, APA, $ 32.95
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Abstract
This paper discusses the life of Inigo Jones, described by the paper as the first and perhaps the greatest of English Renaissance architects who left a profound influence on the course of British art and architecture. The paper begins by presenting a brief biography of Jones' life and then looks at his contribution to the court masque, as well as his relationship and collaboration with Ben Jonson.
From the Paper
" One of the reasons for the fall-out between the two was that Jonson took the intellectual content of his masques more seriously than anyone else. He was, by all accounts, convinced that the soul of the masque was of infinite value. He deeply resented the tendency at the time to accord greater respect to the decoration and the "mere mechanics" of a show (Lees-Milne 45). Jonson believed that Jones was getting more credit than he deserved for his contribution to the masque productions. His resentment towards his "friend" grew from "irritation to contempt to intense dislike" just as applause for Jones got louder. "
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Women in Art, 2008.
This paper analyzes the paintings "Pocahontas" by Simon van de Passe and "'Liberty Displaying the Arts and Science" by Samuel Jennings.
1,631 words (approx. 6.5 pages), 1 source, MLA, $ 53.95
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Abstract
The paper compares the paintings "Pocahontas" by Simon van de Passe and "'Liberty Displaying the Arts and Science" by Samuel Jennings in order to illustrate how the two artists portray the women of America. The paper shows how these two works mirror how American women were devalued in society, and whose most important job was marriage and motherhood, with little else to fulfill or nurture them. The paper points out that both women are depicted in detail, but the detail of their surroundings is more important. The paper explains that this mirrors the status of women who were of lesser importance than their families and husbands.
From the Paper
"Both of these paintings depict American women, but at very different times in history. Van de Passe's work was painted from the real Pocahontas in 1616, while Jennings' work was painted in 1792, after America won her independence from Great Britain. Thus, the style and message of the two painting vary greatly, but they hold some commonalities, as well. The first depicts a Native American woman who denies her own culture in an attempt to become "civilized," while the other celebrates emancipation and freedom. How the artists view these two different American women is very interesting and representative of American history at the time they were painted."
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Museum of Native-American Art, 2008.
This paper discusses a proposal for a historical museum in Montana.
1,002 words (approx. 4.0 pages), 10 sources, MLA, $ 35.95
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Abstract
The paper presents a plan for a museum of Native-American history and art that will be located in Montana. The paper outlines the staff to be hired and the budget to be allocated. The geographical attractions, vegetation and economy in the State of Montana are also discussed.
From the Paper
"The National Congress of American Indians already has a collection of Native American art and artifacts, which it wishes to display and includes hundreds of thousands of art items in four major collection areas. A building to house the museum already exists in Billings, ready for the museum to move into and the director has been chosen. What remains is for staff to be hired and the budget allocated. Staff qualifications for curators and managers are that they have at least a B.A. in art history, museum studies, studio art, library science, or relevant field. Experience will be considered in lieu of a degree."
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Visual Text, 2008.
An analysis of "Arts: Anselm Kiefer Retrospective at SF MOMA" by Peter Selz.
1,205 words (approx. 4.8 pages), 1 source, APA, $ 41.95
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Abstract
This paper introduces and analyzes the visual text "Arts: Anselm Kiefer Retrospective at SF MOMA" by Peter Selz and discusses the text, which according to the author of this paper is interesting because it illustrates the many different parts of art, along with a writer's impression of the work. The article & the painting itself is also reproduced within the paper.
From the Paper
"Kiefer's work is highly visual and textual at the same time. It is dark, often sinister, and unsettling, and it is sometimes difficult to look at. Keifer's elements include realistic pictures of people and landscapes, but there is always something frightening or different about them. The writer includes an image of Kiefer's work, but also includes several descriptions of works that help the reader "see" them, which shows that visual texts can bring works to life, almost as if you viewed them on their own. A different genre might have made the works even more alive, such as a video of the works, but the text is still valid in its own right."
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Mathematics and Art, 2008.
A comparative analysis of the disciplines of mathematics and art.
2,332 words (approx. 9.3 pages), 10 sources, MLA, $ 71.95
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Abstract
This paper discusses how mathematics is often treated as a distant and very different discipline from the arts even though the arts make use of mathematics in a number of ways. In particular, the paper looks at how paintings, drawings, and designs can be analyzed according to mathematical principles to see ways in which the artist balances different shapes and forms according to mathematical principles or draws on mathematical theory for inspiration. The paper also examines how the art of different periods may reflect different mathematical ideas.
From the Paper
"The classical era was one in which mathematics was used quite consciously in developing artistic styles, and some of these styles have even been named with mathematical references. The artworks of a given era reflect the formalist, social, and economic realities of the period, exemplifying the prevailing artistic styles and the social and economic structures which influence the arts. In Greek art, the Geometric period was an era which produced a good deal of pottery and other geometrically regular works. The Geometric krater from the Dipylon cemetery from the eighth century B.C. (De La Croix, Tansey, and Kirkpatrick 130) exemplifies the style of the period. The Geometric period is the name given to the era between the end of the Mycenaean age and the beginning of the Classic age. "
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Elements and Principles of Art, 2008.
An analysis of the key elements of form, unity and subject within art.
1,113 words (approx. 4.5 pages), 4 sources, MLA, $ 38.95
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Abstract
This paper discusses the elements that are key components to art. It specifically focuses on the elements of art and design of form, unity and subject. The paper defines and discusses each of these elements and then discusses how different smaller components function together to create the elements of form and unity that we find within art.
From the Paper
"The principles of art would not exist without the individual elements of art. In other words, elements of art work together to create the principles of art. For instance, individual elements of art, such as forms, can appear again and again within a work of art to create the principle of repetition. The principle of repetition lends to the principle of harmony, in which unity is created by the appearance of elements over and over again. Repetition also creates the principle of movement, in which activity is displayed in an image through the manipulation of an element, such as a repeated form. Furthermore, compositional unity can be created by repeated lines, shapes, colors, or patterns. Harmony is the principle of art that is produced due to the achievement of unity in a composition. A work cannot have unity without harmony, and cannot have harmony without unity. The principles of movement and repetition are integral components to the unity and therefore the harmony of any composition."
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"The Thinker" and "The Oath of Horatii", 2008.
A comparison of the history and creations of two pieces of art - a painting entitled "The Oath of Horatii" by Jacques-Louis David and Auguste Rodin's sculpture, "The Thinker."
1,087 words (approx. 4.3 pages), 5 sources, MLA, $ 37.95
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Abstract
This paper compares two pieces of art - a painting entitled "The Oath of Horatii" by Jacques-Louis David and Auguste Rodin's sculpture, "The Thinker." It describes the history and background of each artwork and the reasons for their commission. The paper looks briefly at how they were created and the final outcome for each piece. It also looks at where the pieces can be found today.
From the Paper
"The figures in the painting are lit from the left and standing out against the dark background. There are three separate scenes--the three Horatii, stand on the left in a military pose and face their father who is in the middle of the painting blessing them with his right hand and raising three swords with his left hand. In the third scene, the women hold each other. Each of these three areas shows a different emotion--the tense faces on the Horatii, the agony of the father and the grief of the women. Calvet (39) explains that David followed the composition of the fresco, with the central figures placed in the foreground to the right, the wall of a temple with figures standing and sitting among the columns in the middle ground, and in background a classical columned facade. Red is the color that is used throughout to contrast with the dark areas. The other colors are muted browns and cremes (Eitner 23). It emphasizes the blood and hot emotions on the one hand, but the sorrow on the other."
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"Woman" and "Celia", 2008.
This paper provides a visual analysis and comparison of two works of art and design from the Metropolitan museum:"Woman" by Willem de Kooning and "Celia" by John Graham.
958 words (approx. 3.8 pages), 2 sources, MLA, $ 34.95
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Abstract
In this article, the writer studies two works of art that are displayed in the Metropolitan museum. The writer notes that Willem de Kooning's "Woman" is an oil and charcoal rendering of an anonymous woman on canvas, composed in 1944. It is a flat-looking depiction of a female nude against a background that looks like a home. The writer compares this work to "Celia" by artist John Graham. The writer points out that Graham's work is a far softer looking painting, as it is painted in oil, with casein, charcoal, chalk, pencil, pen and ink on Masonite rather than pure, flat oil on canvas. The writer discusses that it showcases "Celia," a woman with a classically hourglass figure and long, soft hair against a black background more reminiscent of a 19th century or classical nude than a modernist depiction of a woman, even though the painting was created at the same time as "Woman."
From the Paper
"The space seems cramped, given her position, although there is no distinctive sense of location to the picture, other than the fact that it is indoors. The painting is classified as abstract expressionist in its color scheme, and its use of a mask-like face, which is reminiscent of some of Picasso's cubist works. Although this work is recognizably human, it seems like a grotesque rendering of the human form. The work seems more like smears or swirls on a canvas rather than a suggestion of someone one might know in life. The smile on the woman's face while she assumes an uncomfortable position, and the cartoon-like yellow, orange, green, and blues make it seem as if the work is a parody of a woman, as if the woman's image is being made intentionally ugly or distorted. Even if this was not de Kooning's intent, the artist's emphasis is on the arrangement of form, line, and color not the character of the woman herself. The woman exists as a subject, a series of surfaces, rather than a unique personality."
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Female Art, 2008.
A brief overview of the depiction and place of the female in art in ancient history.
1,480 words (approx. 5.9 pages), 1 source, MLA, $ 48.95
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Abstract
This paper discusses how, because women have always been an integral part of society, their role has been depicted in artwork from the very first sculptures and cave paintings. Not surprising, the way that they have been delineated through art has depended on their changing responsibilities. Also, when women create the art pieces instead of their male counterparts, differences are recognized. The paper compares and contrasts this status within several different cultures such as ancient Greek Egyptian and Minoan cultures. The paper concludes that in most cases, except for the Minoan culture, the women's status continued to decline as the culture became more structured and urban. Except for the earliest times, therefore, women have had a subservient role. This has not only been in Western society, but Eastern cultures as well.
From the Paper
"In the period of approximately 3500 BCE to 635 CE, or during such cultures as the Akkadian, Neo-Summarian, Babylonian and Hittite, when looking at the art work it is difficult to know whether the women are depicting female humans or actual goddesses. For example, a female head from Uruk, Iraq, made out of marble from 3200 to 3000 BCE may be a female head or the Summarian goddess Inanna (34). Inanna., later known as Ishtar, was the Summarian goddess of love and war who was the most important female deity in all periods of Mesopotamian history (35). In a Sumerian ruin from the fourth millennium, statues and reliefs are found that are related to her worship. It is unsure, however, whether or not this goddess was represented in human form at that time. Because of continued importance of fertility at the goddesses at this time, women most likely continued to play an important role. "
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Kimono History, 2008.
An analysis of the history of the kimono and its influence on contemporary fashion design.
1,837 words (approx. 7.3 pages), 6 sources, MLA, $ 58.95
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Abstract
The paper discusses the kimono as simple apparel, in terms of shape and very complex in terms of design and artistry. The paper relates the origin of the term and its meaning, as well as the intricate design, styles and the influence it has had on fashion. The paper concludes that the traditional kimono still plays a very important part in contemporary fashion, not as an exotic element, but as an integral part of the designs for either casual or evening ware.
From the Paper
"Kawakubo, Miyake and Yamamoto are considered as the designers who made these first steps towards a new fashion more concrete: "While Kenzo is considered a pioneer among all Japanese designers, Kawakubo, Miyake and Yamamoto are the ones who created a new style characterized by monochromatic, asymmetrical and baggy looks."(Kawamura, 2004, 125) The asymmetrical and baggy look of their designs is clearly influenced by the loose form of the kimono. Sometimes, in Miyake's creations for example, the dresses are completely shapeless and have random holes that offer a certain freedom when wearing them: "There was a garment that was totally out of shape and had four holes. You could hardly tell which holes are supposed to be for the arms to go in or the neck to go in. During the rehearsal, Issey's patternmakers would be going around the dressers making sure we knew which hole was for which part of the body." (Kawamura, 2004, 134) This freedom of wear is also influenced by the kimono, which, although worn according to prescribed rules, can always be adjusted to the body or to the occasion, etc. Also, Miyake uses a special method in his designs that is called "A Piece of Cloth","that is clothes made out of a single piece of cloth which would entirely cover the body."
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