Abstract
This paper briefly examines the history of ancient Greek art. It focuses on several periods - Archaic Period, Early Classical Period, Golden Age, Late Classical Period and Hellenistic Period. Different types of art forms are discussed and examined how they developed during these periods. The influence of other cultures on Greek art is also analyzed, namely Middle Eastern and Egyptian.
Outline
I. Introduction
A. History
B. Cultural influence
II. Archaic Period (600-480 B.C.)
A. Egyptian influence
B. Middle Eastern influence
III. Early Classical Period (480-450 B.C.)
A. New humanism led to balanced human form
B. Marble and bronze figurines
IV. Golden Age (450-400 B.C.)
A. Temples of the Athenian acropolis
B. Parthenon sculptures
V. Late Classical Period (400-300 B.C.
A. Expression of emotion
B. Individualization and three-dimensional movement
VI. Hellenistic Period (323-31 B.C.)
A. Nike and Aphrodite
B. Terra-cotta figurines
VII. Conclusion
A. Importance of masterpiece copies
B. Influence of Greek culture

From the Paper
"The earlier great cultures of Egypt and the Near East were making art long before the Greeks and much of the early Greek art looks Egyptian, with its stiff and profiled poses and boxy geometric designs. Moreover, the Greeks borrowed the ideas, motifs, conventions, and skills from these earlier civilizations (Tansy 1996). However, it was the Greeks who made the leap into naturalism and in their representations of the human body created an ideal of perfectly balanced proportions that has never been improved upon. Although, we often speak of Greek and Roman in the same breath, the greatest accomplishments of Greek art were five centuries old by the time the Romans began to copy them. "

Tags:greece, roman, civilization, Euthymides, Euphronius, Classical, Period, Golden, Age, Phidias, Scopas, Hellenistic, Athens

Abstract
The following essay suggests that we view "The Garden of Earthly Delights" scene, and especially the middle panel of the triptych, as being either a scene of elevated spirituality or one of unconscious desire rather the out-and-out orgy that it is often depicted as being.

From the Paper
"We are so accustomed to thinking of Hieronymus Bosch as the painter of devils and of the torments of humans that we forget that this description of his work may in fact not even be true. A closer examination of his work, for example, his most famous painting, "The Garden of Earthly Delights" suggests an ambiguity about his work that it is not usually credited with. His vision of humanity and life is certainly not one of unmitigated sweetness, but nor is his assessment of the human condition unmitigatedly dark."

Tags:spirituality, unconscious desire, creator, diabolic symbolism, canvases, moralist, weakness, humanity

Abstract
This paper discusses the life and work of Jackson Pollock, who is one of the central figures in the development of the strictly American art movement called Abstract Expressionism. The paper includes his biographical information, description of major works, quotes from Pollock and his critics describing his innovative drip painting style, and an "art inventory" of the 1953 painting called "Easter and the Totem."

From the Paper
"American painter, Jackson Pollock, born in Cody, Wyoming in 1912, was a troubled genius who became known as a quintessential abstract expressionist in the art world of the twentieth century. Pollock, a freedom seeking rebel, was instrumental is the development of the distinctly American abstract expressionist movement in the United States. He became notorious for his drip painting methods and his huge canvases layered with paint and embedded objects. Pollock, known for his emotional volatility and heavy drinking, seen as a phony by some, and a hero by others, used his innovative, individualistic and uninhibited style to birth a new artistic genre in post World War II America. "

Tags:painter, expressionism, biography, works, rebel, painting, post

From the Paper
"One of the influences on the development of the artistic movement known as surrealism derived from the writings and thought of Sigmund Freud. Freud has a particular influence on Andre Breton, one of the leading theorists of the movement, and Salvador Dali, perhaps its best-known practitioner. Each man acknowledged the contribution of Freud and produced works citing Freud directly.
Surrealism was an artistic movement with a strong political component. It was the most highly organized and tightly controlled artistic movement in this century, and its moral and philosophical leader was Andre Breton, who held the unofficial title of the Pope of Surrealism. Surrealism was also a life-style and a philosophical outlook that informed artistic expression, political action, and social life."

Abstract
The author states that in the painting "The Luncheon of the Boating Party", Renoir shows the splendor and joy of everyday life. This painting marks the culmination of Renoir's Impressionist period. This painting was a huge undertaking for the artist. The author describes in detail the new method of combining colors that Renoir used to give the feeling of natural brilliant light.

From the Paper
"A prime example of the artist's ability to capture the joy of a single moment on canvas can be seen in The Luncheon of the Boating Party. This painting depicts the carefree gathering of French revelers, having just concluded a convivial meal. Renoir recreates the beauty of the river scene with the posing of models, all friends of the artist; his use of vibrant color applied in small brush strokes to recreate natural light and a richness in texture, and his use of contrasting white with black. All these elements come together to show one of life's greatest pleasures; the joy of eating and drinking with friends."

Tags:french, eating, drinking, friends, impressionist, monet, sisley, manet, technique, dabbing, color, dots, dance, hall, working, class, family, strokes, colors, natural, light, optical, mixture

Abstract
The display of Impressionist paintings in France in 1874 led to ridicule, but within twenty years Impressionists were to garner a large and permanent public following. This essay clearly describes how Impressionists played with lighting, color, brushstrokes, subject matter, and scenery to revolutionize art, specifically using Monet's Rouen Cathedral series to examine these changes.

From the Paper
"Impressionism was the first modernist art movement and to this day it remains the most popular (Hughes 113). Early Impressionism resulted from the work of many different painters, all sharing a common philosophy and technique and loosely organized as a group. It was at its strongest between the 1860s and 1890s and included many renowned painters such as Monet, Degas, Gauguin, Renoir, and Seurat. The fist public display of Impressionist paintings in 1874 disturbed the tradition-bound French Academy of Fine Arts and led to ridicule, but within twenty years Impressionists were to garner a large public following and were never again to be the "outcasts." Later Impressionist works built on and expanded the original style of the early artists, and in many cases the early Impressionist artists re-invented themselves and expanded their repertoire to show new forms and techniques of the movement. For these reasons Impressionism remains hugely successful even today, and works by artists in this genre are highly collectible and studied."

Tags:art, impressionism, modern, Monet, Renoir, Gaugin, revolutionize, ridicule, France

Abstract
This paper explains that the innovation of the grid as an enduring motif in modern art and its offshoot, the straight-line, opened up a relatively unprecedented mode of expression for modern abstract artists. This paper explores the philosophy and work of Piet Mondrian and other artists of the Neo-Plasticism movement. The author points out that, for Mondrian, the grid was not simply a structural mechanism but an organic solution to the Modernist preoccupation with mind/matter dualism. Examples of Mondrian's works in color included.

From the Paper
"The grid is clearly the perfect artistic means by which to affect this "liberation", as it provides a structure predicated on an inherent and infinite formlessness. Its strict horizontal and vertical axes proved an excellent format for the controlled interaction of pure, primary planes of colour, and functioned as an independent, artistically alive (plastic) organism in which ??everything counterbalances everything else.? "

Tags:barnett, lozenge, plasticism, newman, theosophy

Abstract
This paper defines Minimalism as the tendency by a new generation of artists towards non-allusiveness and decontextualisation from tradition, impersonality in tone, and the flattening of perspectival schema?s though the emphasis on surface, and the subsequent neutralization of depth cues. The author states that there is little agreement as to when the movement officially came into being, and who if anyone was its innovator. The paper states that Minimalism emerged primarily as a reaction against Pop and Abstract Expressionism.

Table of Contents
The Emergence of Minimalism
The Influences of High Modernism
Robert Rauschenburg?s ?White on Whites?
Frank Stella?s Black Paintings
Carl Andre and the Influence of Brancusi
Dan Flavin and the Russian Avant-Garde
Sol LeWitt and the Opening Up of Space
Robert Morris and Phenomenological Vision
Conclusion

From the Paper
"Superficially Minimalism was everything that motion-painting was not, and indeed it's physical characteristics embodied, at least for the American critic Clement Greenberg, the very elements that modern formalistic abstraction had strove so hard to escape from. It's closest physical relative was early Constructivism, whilst its ideology could be said to have been initiated by Kasimir Malevich's Suprematism movement. Both Constructivism and Suprematism renounced the need for art to be visually complex, Malevich through his Black Square and Vladimir Tatlin's via his Counter-Corner relief's, although these cannot really be seen as anything more than a indicative forerunner of this new aesthetic. "

Tags:surface, perspective, constructivism, expressionism, russian

Abstract
This paper describes Raphael's famous painting "Madonna and Child Enthroned with Saints." The paper provides a history of the painting. The author analyzes its composition and colors as well as the conservative style of the painting and its classical details.

From the Paper
"Rafaello Sanzio, known as Raphael, painted the "Madonna and Child Enthroned with Saints" early in his career The painting was an altarpiece executed for the small Franciscan convent of Saint Antonio de Padova in Perugia and hung in the part of the church reserved for the worship of nuns. (Metropolitan Museum of Art) Also known as the Colonna Madonna or Altarpiece, a reference to Raphael's patrons, the powerful Colonna family the work consists of two main sections..."

Tags:Raphael, Madonna and Child Enthroned with Saints

Abstract
This paper considers the many influences on the career of Piet Mondrian, in particular theosophy, cubism, the Dutch tradition, Vincent van Gogh, neo-plasticism and his eventual move to New York.

From the Paper
"Founded on an unprecedented concern with structure, unity and subtle geometry, Piet Mondrian's landscapes reveal the origins of what was to become the major preoccupation throughout his career - universal beauty, and its abstract representation. It was a journey that would culminate in his remarkable last work Victory Boogie-Woogie, and a process which saw him grapple with Naturalistic Realism, Cubism, Symbolism (briefly) and finally Neo-Plasticism, also called the International Style, a movement he was to make his own. Mondrian's art is fascinating for the very reason it is also so hard to understand - it was a completely new way of perceiving the relationship between the external world, inner feeling and the surface of the canvas. His abstraction was not just a move away from figurative, representational art, but a step towards transcendental purity."

Tags:atlantic, boogie, cubism, dutch, gogh, grid, lozenge, painting, paintings, theosophy, victory, vincent, woogie