| Papers [1-14] of 1981 :: [Page 1 of 142] | | 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 —> | |
|
|
Creativity, 2009.
This paper creatively and progressively illuminates our understanding of creativity by briefly analyzing it from eight different points of view.
2,161 words (approx. 8.6 pages), 8 sources, APA, £ 42.95
»
Click here to show/hide summary
Abstract
This paper begins by critically reviewing Howard Gardner and Mihaly Csikszentmihalyi's perspectives on ongoing creativity, pointing out their shortcomings. The writer next discusses Csikszentmihalyi's research on creative flow, and then takes a look at what it means to be a Renaissance man like Leonardo da Vinci. Csikszentmihalyi and Poincare's theories on the way creativity manifests are briefly looked at, and a short overview of evolutionary psychology is given. The writer also discusses the findings of neuroscience on brain structures and systems associated with cognitive functions such as logical ability, mathematical prowess, musical thinking, and spatial relations. From here the paper moves on to computer programs which simulate such functions, and concludes with a short piece on how artificial intelligence can offer useful models of creativity.
From the Paper
"Creativity is not necessarily qualitative in nature, as Gardner and Csikszentmihalyi suggest. Therefore, creativity is not necessarily expressed in regular intervals over time as with a novelist like Stephen King. A sudden burst of productive inspiration can be tremendously meaningful and wholly representative of the creative process. The burst reflects the mysterious power of the brain and mind to synthesize ideas or generate art and music. Creativity is not measured in volume of output but in quality of output."
| |
|
African-American Art, 2009.
A look at how African-American art represents an era of struggle and survival.
1,292 words (approx. 5.2 pages), 6 sources, MLA, £ 27.95
»
Click here to show/hide summary
Abstract
The paper relates that for enslaved African-Americans, art became a form of expressionism, hope, history and therapy. The paper discusses the slaves' tools, songs, dances and their stories that all demonstrate how they are survivors. The paper also looks at the literature from this time period, specifically the narrative of Frederick Douglass, that conveys a strong American spirit that refuses to let anyone or anything beat it down.
From the Paper
"Oral traditions go back as far as Africans do. While it might have been frowned upon in America, the tradition can be continued with songs and story telling. These stories and songs became specific to the African-American experience and they tell us so much about the endurance of slaves. Songs were used as tools of education as well as entertainment because reading was discouraged. Songs were not always sad as one might guess. While some songs told tales of agony and oppression, many were songs of hope that obviously lifted the soul in difficult times. We can learn about the tenacity of the human soul thought some of these songs. For example, one song asks, "didn't my Lord deliver Daniel . . . and why not every man." 1 Similar songs of freedom might have been the only hope that slaves could cling to when their lives seemed the darkest. How African-Americans sang is also significant because dance is very much a tradition that lives today."
| |
|
"American Photographs Revisited", 2009.
An examination of Walker Evans' publication, "American Photography" and of Douglas R. Nickel's assessment of the work in his publication, "American Photography Revisited."
1,059 words (approx. 4.2 pages), 0 sources, £ 23.95
»
Click here to show/hide summary
Abstract
This paper examines "American Photographs Revisited," written by Douglas R. Nickel, which explores the impact of Walker Evans' and the Museum of Modern Art (MoMA) publication, "American Photography." The paper discusses the purpose and success of the original work and then looks at Nickel's assessment of Evans' publication in his book.
From the Paper
"Photography is a core feature of the American arts. However, photography is equally as important for American history and American journalism. Nickel's essay "American Photographs Revisited" explores the multifaceted media with aplomb. Bringing Evans' and Kirstein's backgrounds into the analysis aids the author's deconstruction of the seminal book. By elucidating their social class and educational backgrounds, for example, Nickel demonstrates how Evans and Kirstein were not unbiased. Their objective with American Photographs was to present a combination of historical documentary with artistic genius. Published by MoMA, the book was never intended to be photojournalistic or political but ended up being both."
| |
|
Abstract Impressionism, 2009.
An examination of Arshile Gorky's "Agony" as a representation of modern art.
1,316 words (approx. 5.3 pages), 1 source, MLA, £ 27.95
»
Click here to show/hide summary
Abstract
The paper focuses on Arshile Gorky's "Agony" and also examines Philip Guston's "Untitled (Waiting)", Barnett Newman's "Vir Heroicus Sublimis", Giacometti's work, Robert Motherwell's work and Robert Morris' "Untitled (Threadwaste)". The paper identifies in all five works of art the artist's continuous affection for pure imagination exercises, an important characteristic of modern, abstract art. The paper explains that under the anguish of the 20th century uncertainties, the artist finds refuge in his work and discovers inner traits of his personality, which, otherwise, would have probably not come out. The paper adds that we do not need to seek interpretations of the artists' work, but simply enjoy the colors, shapes and attitudes for a simple aesthetic pleasure.
From the Paper
"Arshile Gorky's "Agony" is one of the excellent examples of how contemporary art turns into an abstract representation of an artist's most inner beliefs, a reflection of his post-modernist anger and anxiety facing the realities of the 20th century. Looking at his life as an Armenian refugee whose mother had died in his arms during the Turkish genocide, Arshile Gorky probably best reflects a sum of all these feelings, eventually translated into an early refuge from this life (the artist committed suicide in 1948).
"As a great representation of modern art, it is difficult to give out a realistic interpretation of this work, but the goal is rather to reveal inner feelings awakened by it. The first thing that is likely to make the viewer wonder is the incredible way the colors are combined into a rainbow of beliefs. There are several categories of colors successfully blended into this work. First of all, we have the bright colors, such as numerous nuances of red, with occasional intermissions of purple and pink."
| |
|
The Paris Art Scene: 1800-1920, 2009.
Looks at the Paris art scene from 1800 to 1920, which was called the Golden Age of Art.
845 words (approx. 3.4 pages), 4 sources, APA, £ 19.95
»
Click here to show/hide summary
Abstract
This paper explains that the Golden Age of Paris was a time in which all forms of artistic expression including architecture, the theater and graphic arts, flourished in this city. Next, the author describes the ways that these artists were self-driven, never idle and passionately pursuing the calling of art. The paper emphasizes the work of Henri Rousseau as an example of the artists of this Parisian Golden Age of Art.
From the Paper
"During the nineteenth century, Paris was the "art capital" and the art schools in the city, as well as the museums and exhibition spaces indicated the overall view in Paris that "the arts were an integral part of everyday life" and this pulled the artists of the day from the entire world toward Paris. Paris was described by May Alcott, an American painter as a place which would "strike a new-comer as being but one vast studio." Paris grew very quickly during this time, as it was the destination of travelers from all over the world."
| |
|
Abstract Art and Artists, 2009.
This paper compares the works and aims of abstract artists Frank Stella and Robert Pepperell with those of the founder of abstract art, Wassily Kandinsky.
2,238 words (approx. 9.0 pages), 12 sources, APA, £ 43.95
»
Click here to show/hide summary
Abstract
The paper attempts to illustrate how ideas and conceptions of abstract art have changed and developed since the early years of the twentieth century. The paper compares two modern abstract artists, Frank Stella and Robert Pepperell, with more traditional views of abstract art, such as those of Wassily Kandinsky. The paper shows how contemporary abstract artists still adhere to the formal and stylistic tenets of early abstraction but without the idealism that had initiated the abstract art movement.
Outline:
Introduction
Brief Overview of Abstract Art
Modern Abstract Artists: Frank Stella and Robert Pepperell
Conclusion
From the Paper
"Abstract art is commonly defined as, "art that does not depict objects in the natural world, but instead uses color and form in a non representational way." (NationMaster Encyclopedia: Abstract art). This definition does not deal with all the issues surrounding the meaning and understanding of abstract art and there is a great deal of dissension and argument among critics and art theorists about the nature and meaning of the term 'abstract'. However, the general view is that abstract art is essentially non-representational and non-objective. It is also seen from an artistic viewpoint as an attempt to provide an understanding of the world and reality that cannot be obtained by the methods and techniques of representation."
| |
|
The Art of Egyptian Civilization, 2009.
A look at the "New Kingdom" period of Egyptian art, from approximately 1550 to 1069 BCE.
1,008 words (approx. 4.0 pages), 6 sources, APA, £ 22.95
»
Click here to show/hide summary
Abstract
This paper focuses on the "New Kingdom" period of Egyptian art, or that time from approximately 1550 to 1069 BCE, and describes the important artistic influences and styles that define the period. The paper shows how the reforms in art seen during this period represent a change from a rigid and stylistic form of art to art as a method of celebration of form as well as function.
From the Paper
"To understand the art of Egyptian civilization one must understand the historical context. The period of art discussed in this paper comes from what is termed the "New Kingdom" period, or that time from approximately 1550 to 1069 BCE. Of course, Egyptian art significantly predates this period, but historical events tended to have the most dynamic impact during this era. Additionally, while the names of most of the artists have been lost to posterity, it is possible to describe important artistic influences and styles which define the period. Initially a polytheistic society, the original purpose of Egyptian art was as a repository for the essential element or ka of the human body. Early Egyptian art work was developed solely to decorate the resting place of the ka. Reverence for the ka meant that the early work was almost grotesque in its exaggeration and restraint. The reforms in art seen during this period represent a change from a rigid and stylistic form of art to art as a method of celebration of form as well as function."
| |
|
Art Therapy for Children's Grief, 2009.
An exploration of the effectiveness of art therapy with children experiencing grief.
2,580 words (approx. 10.3 pages), 6 sources, APA, £ 48.95
»
Click here to show/hide summary
Abstract
The paper explains the range of children's grief reactions and shows how the understanding of death varies on the age and stage of the child's development. The paper conducts a literature review and finds that art therapy is a very effective method for assisting grieving children to express their emotions on the loss of a loved one. The paper shows how art therapy exposes the erroneous beliefs, misconceptions and self-guilt that children often harbor for many years.
Outline:
Objective
Introduction
Literature Review
Conclusions
Recommendations
From the Paper
"Children's understanding of death may be varied depending on the age and stage of the child's development in that young children "fall into Piaget's preoperational stage" which is a time when children "begin to represent their world with words, images, drawing and imaginative play activities." (Malchiodi, 2003) During this stage of development, because children this age are egocentric, the child may believe that they somehow caused the death of the individual. Furthermore, magical thinking that occurs at this age may cause the child to believe that the individual might be brought back somehow as they do not realize that death is irreversible. Children in the age range from seven to eleven years of age "...fall into Piaget's stage of concrete operations" which is a stage characterized by "reduced egocentricity and an improved capacity for reasoning." (Malchiodi, 2003)"
| |
|
Cubist Sculpture, 2009.
This paper discusses Cubism and looks at Cubist sculpture and its significance in the development of art.
2,836 words (approx. 11.3 pages), 11 sources, APA, £ 53.95
»
Click here to show/hide summary
Abstract
In this article, the writer notes that Cubism as an art movement is considered one of the most revolutionary in art history. It was part of the modernist art movement during the Twentieth Century, which altered the principles of art that had been dominant for centuries. A central thesis or theme explored in this paper is that Cubism was much more than just another artistic style and that it heralded a new way of perceiving and understanding reality and the world. The writer maintains that in this sense Cubism was in essence a protest or a refusal to accept the norms and value that were prevalent at the time. The writer concludes that the Cubist movement as a form of artistic protest against the conventions of art also opened the way to other areas of artistic experimentation and creativity. The writer also maintains that in sculpture this led to many innovative works of art that explored the possibilities of alternative perceptions of space and depth and enriched the ways in which sculpture could be created and appreciated.
Outline:
Introduction
Cubism and Reality
Cubism and Modernism
Cubist Art and Sculpture
Conclusion
From the Paper
"There was a general feeling among many thinkers and artists in the early years of the Twentieth Century that the views and ideas that were prominent in society were false and needed to be radically questioned. One example of this type of questioning was the opposition to the view that reality was fixed, static and obvious. In terms of art history this view of reality was known as representation. In other words, all that an artist was required to do was to copy or re-present what the eyes saw, which was already there in the outside world.
"This view was questioned by artists like Picasso and other modern artists. They were of the opinion that reality was relative or dependent on context and point of view. Reality therefore was not 'fixed' or static but was continually changing according to one's perspective or point of view. This questioning of the accepted views about reality was to have a great influence on the development of Cubism and other artistic movements in the Twentieth Century, such as Dadaism and Surrealism."
| |
|
Art Theory, 2009.
An argument that art theory inhibits the spontaneous creation and enjoyment of art.
1,703 words (approx. 6.8 pages), 8 sources, APA, £ 34.95
»
Click here to show/hide summary
Abstract
The paper argues that to fully enjoy a work of art, the viewer should enjoy it and experience it, rather than attempt to fill it with vague meaning, symbolism and theory. The paper strongly believes that art
theory challenges creativity and inhibits the enjoyment of the piece. The paper does hold that theory can guide the artist, but it should never overpower the artwork or the creation of that artwork.
From the Paper
"There are two main theories of art used throughout the art world - the cognitive theory and the expression theory. The expression theory holds that art communicates feelings and emotions to the viewer, and that is the artist's job, to convey these meanings to the viewer (Freeland 2003, p. 104). The cognitive theory holds that art plays a role in our lives, and that it imparts knowledge to the viewer (Freeland 2003, p. 112). These two theories indicate how rigid the theory of art can be, and how it can never be the same for two people, or even two critics. In fact, some critics are now arguing that art theory is "dead," at least in part because it has worn out, and is no longer viable in today's art world (Rosenstein, 2002). Others comment on how theories change over time, and become archaic and outmoded when artists follow them too closely or religiously (Hertel 2003). Thus, theories can bind the artist and the viewer, and for many, art theory needs to die so that true, expressive and creative art can live."
| |
|
"Livia's Garden Room at Prima Porta", 2009.
An in-depth analysis of the technical, symbolic and cultural implications of the garden painting at Livia's villa in Prima Porta.
3,385 words (approx. 13.5 pages), 11 sources, APA, £ 60.95
»
Click here to show/hide summary
Abstract
The paper provides an assessment of the painting "Livia's Garden Room at Prima Porta" in order to show how it is a clear technical, symbolic and cultural point of inflection in the history of Roman art. The paper analyzes the symbolic entities such as the laurel, the bird and the garden as well as the themes of diversity, fertility and serenity.
From the Paper
"When Augustus evolved to take on the mantle of Octavian, uniting ruler of the glorious Roman Empire, his tenure would initiate a period characterized by an interest in reform, rebirth and the strict maintenance of peace-time conditions. His rule is one which , even today in historical reflection and through the lens of Roman mythology, reflects a high-water mark with respect to the cultural state of affairs. In some of the most well-known and singular pieces to come from this time and place, we are shown something of the combined public sentiment and self-declaration which preserved Augustus in a place of high regard to history. Particularly, in such works of art as were produced in close vicinity to the city of Rome from which he held a seat of sweeping and revered authority, there is an opportunity to observe some of the qualities which the Emperor pointedly sought to associate with his rule and the era there represented for Rome, Romans and the world under their purview."
| |
|
The Artist - Alice Neel, 2009.
A summary and analysis of the life and works of Alice Neel.
1,620 words (approx. 6.5 pages), 4 sources, MLA, £ 33.95
»
Click here to show/hide summary
Abstract
The paper analyzes the artist Alice Neel and her art, specifically discussing several of Neel's artworks, along with her style of painting. The paper comments that Alice Neel was one of the most prolific female artists in American history, as she painted almost continuously from the 1920s to the 1980s, when she died, and her works fill some of the most well-known and notable museums in the country. In addition, the paper notes that she conquered mental illness to continue painting, and is known for her modern, impressionistic art approaches to portraits most of all. The paper highlights that her portraits embody the themes of motherhood, loss, and apprehension, and these themes continued throughout her career. Examples of her work are included in the paper.
From the Paper
"The 1940s and 50s continue this progression into more cartoonish art, with people who seem surreal and real at the same time. She also begins sketching with charcoal and pencils, something very different from the bright colors that are beginning to creep into some of her works. She paints other street scenes, landscapes, and even a still life or two, but her main body of work still consists of portraits of mostly everyday people. Another critic notes, "While many of her portraits were of people who were not quite ordinary, such as her leftist male literary friends and lovers in Greenwich Village, she did indeed paint the people in her community when she lived in Spanish Harlem."
| |
|
Greek Culture, 2009.
This paper looks at the importance of Greek art and culture in today's modern world.
943 words (approx. 3.8 pages), 3 sources, APA, £ 21.95
»
Click here to show/hide summary
Abstract
In this article, the writer discusses that Greek art and its relationship with the modern world cannot be stressed enough, for it could be said that ancient Greece and even the modern Greek nation would be unrecognizable if it was not for Greek art, which over the last two thousand years has come to symbolize Greek culture. The writer points out that several examples stand out like the Jefferson Memorial and the US Capital, both designed by adopting the architectural styles of the ancient Greeks. The writer notes that the role of the city of Athens is also highly important, especially related to the Parthenon, as is the literature created by a number of Greek writers. The writer maintains that in essence, without the genius of the ancient Greeks, the physicality of our modern world would not be the same.
Outline:
Abstract
Greek Art: Historical and Cultural Influences
From the Paper
"Of course, the history of ancient Greek art is inseparable from the city of Athens, where our modern principles of democracy emerged around 400 B.C.E. and which has become the penultimate symbol of Greek culture, especially related to the Parthenon atop the Acropolis which still stands today as the quintessential icon of ancient Greek architecture. It was here in Athens that some of the finest products of Greek civilization were created by Athenians, such as Phidias, one of the greatest sculptors of all time and responsible for the creation and overall design of the Parthenon.
"Also, modern-day Western society and the nation of Greece owe much to the writers who created the great Greek tragic plays, such as Aeschylus and Sophocles whose plays were ... "
| |
|
"Madonna with the Child Reading", 2009.
An analysis of Jan Van Eyck's painting "Madonna with the Child Reading"
842 words (approx. 3.4 pages), 3 sources, APA, £ 18.95
»
Click here to show/hide summary
Abstract
The paper examines how Van Eyck's 1433 canvas, "Madonna with the Child Reading" conveys Van Eyck's singularity and incisive use of religious imagery to express the anguish of his personal life. The paper attempts to nevertheless show that this realism could still hold the capacity for incredible and humanist poignancy.
From the Paper
"The early 15th century would witness a flurry of new technical feats in painting, with artists in Italy and France contributing particularly to a new depth of realism in visual portrayal. Often overlooked would be the remarkable work of some of the late-renaissance painters emergent from Northern Europe. The Netherlands would produce some of the most detailed and accurate portrayals of human features and contexts, with Jan Van Eyck often identified as perhaps the best of painters from his time. His 1433 canvas, Madonna with the Child Reading stands as testament both to Van Eyck's singularity and to incisive use of religious imagery to express the anguish of his personal life."
|
|
|
