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War, 2007.
This paper studies various works in order to examine the subject of war.
883 words (approx. 3.5 pages), 4 sources, MLA, £ 17.95
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Abstract
In this article, the writer points out that a variety of artists and others have sought to encourage people to consider both the horror of war and whether a need for warfare actually exists. The writer notes that in her essay "Warfare: An Invention-Not a Biological Necessity," anthropologist Margaret Mead argues that waging war is a choice made by humans and not something innate to our species. The writer describes that in "The Man I Killed," Tim O'Brien communicates the effect of choosing warfare on one soldier. The writer also explains that Garry Trudeau, in his cartoon "Doonesbury", uses visuals to broaden the message and demonstrate the high number of soldiers who have endured the trauma of war. Further, the writer discusses a painting by the Spanish artist Pablo Picasso, that shows an image of warfare based on civil war in Spain that demonstrates the terrible toll war can take on non-combatants. The writer concludes that the four artists present war as both avoidable and terrible.
From the Paper
"Mead did not analyze any particular war. Rather, she demonstrated that warfare is an act that was invented by societies, not something necessary for human existence. By doing this, she argued that warfare was avoidable. She used the parallel of how trials developed through time in societies, evolving from barbaric practices to civil, logical proceedings. Through this analogy she suggests that war is barbaric and that societies should strive to find nonviolent ways to settle differences between countries and societies, just as societies have found civil ways to settle disputes between individuals or between individuals and the societies in which they live."
"Having established that warfare is only one way to settle differences, the other artists in this selection of examples demonstrate what it is that makes war barbaric. Tim O'Brien's story draws the reader into the mind of both the American soldier and the Vietnamese soldier he kills. We feel the horror of the American soldier, Tim, as he views the terrible damage done to the enemy soldier."
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African Art and Repatriation, 2007.
A debate over the importance of cultural repatriation of the Lega figure to the people of Congo.
715 words (approx. 2.9 pages), 2 sources, MLA, £ 13.95
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Abstract
This paper discusses the issues surrounding cultural and artistic repatriation, which remains one of the most contentious debates within the international archaeological and artistic community. The paper specifically discusses the Lega figure and the arguments for and against its repatriation, for cultural reasons, to the people of Congo. The paper then draws a conclusion as to the best course of action to take, regarding this piece of work.
Table of Contents:
Basic Criteria For Repatriation
Argument In Favor Of The Return Of The Selected Object
Argument Against The Return Of The Selected Object
Conclusion
From the Paper
"However, merely because using the Lega figure as teaching tools in museums to different nations of the world does not justify the cultural loss to the people of the Congo, who originated these works to be part of their religious tradition, not as artifacts to teach the nations who exerted colonial domination over their territories. Also, even if the Lega figures are individualistic, this does not take away from their ritual significance. Finally, the idea that Western art scholars only approved of the Lega after recognizing the individual component added by certain creators shows that the Lega remain judged by Western standards, and not by the indigenous standards of their local community--the repatriation and relocation of the works may be necessary so the world can be educated in the contextual significance of these figures as well as judged by Western standards."
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The "Heart Sutra", 2007.
A description of the "Heart Sutra," a 2001 Korean work of art by the artist Yoon Kwang-cho.
1,075 words (approx. 4.3 pages), 0 sources, £ 20.95
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Abstract
The paper describes how to the naked eye of the casual observer in a museum, the work looks like a rough, oblong stone with an unfinished granite-like texture. The paper portrays the overall effect upon the viewer as one of curiosity, rather than awe or power, given that the observer cannot gain full access to the meaning or even the placing of the work. The paper shows how the slab with the sutra ultimately poses more questions than answers, due to its incomplete nature. The paper suggests that this sense of unfinished texture of the stone and the word's meaning is perhaps the most powerful effect of the work.
From the Paper
"To a Western eye, this slab looks almost like a Rosetta Stone, or an ancient artifact from long past that is supposed to encompass the words from another time or place and memorialize these words in a kind of sculpture. The stone appears ripped or extracted from something larger than the displayed artifact, as if it is an ancient bit torn from a ruin, rather than a complete and holistic work or vision of an artist. The form of the sculpture, a recreation of an archeological work, suggests that the artist wished to suggest that the work was, in some sense, ripped from the past, either figuratively or literally."
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"Dancers in Pink", 2007.
An analysis of the techniques employed by Edgar Degas in his painting "Dancers in Pink."
1,379 words (approx. 5.5 pages), 8 sources, MLA, £ 25.95
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Abstract
This paper analyzes the painting "Dancers in Pink," painted by Edgar Degas in 1878. The paper describes the compositional structure of the painting and how it appeals aesthetically to the viewer. The paper then goes on to discuss the synthesis between form and color in the entire work and how they enhance the overall painting. The paper concludes by describing the use of paint and the technique of paint application, as well as Degas' choice of hues and tones.
From the Paper
"This experimentation with painting technique can be seen in the different method of paint application work. Some areas in the dresses of the two main figures are thinly painted, possibly diluted with turpentine, while others seem to be more impasto-like in their quality. It is the use of washes over thick paint that, especially in the skin tones, provides the feeling of tactile sensuality. It seems as if the pink and orange has been painted over an underlayer of flesh tones, which can just be seen beneath the rich folds of the dresses. The brush strokes also vary throughout the painting, with smoother and crisper brushwork in the dresses and figures and rougher, more 'sketchy' brushwork in the background and in the smaller figures."
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Ansel Adams, 2007.
A biography of the American photographer, Ansel Adams.
1,428 words (approx. 5.7 pages), 4 sources, APA, £ 26.95
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Abstract
The paper examines how Ansel Adams was a "straight photographer" who captured the beauty of natural America, particularly the West. The paper explores how he was also a national icon who worked tirelessly for the preservation of the national parks and furthered the cause of environmental groups such as the Sierra Club. The writer proposes that Adam's art was an expression of himself, in the sense that he found the sublime in nature and transmitted it so that others could experience the same refulgence.
From the Paper
"An artistic sensibility characterized the young Ansel Adams. "When Adams was twelve he taught himself to play the piano and read music. Soon he was taking lessons, and the ardent pursuit of music became his substitute for formal schooling." He imagined himself becoming a concert pianist. Such training was not wasted, even though he did eventually give up the piano in favor of the camera. "From music, he brought to camera work long hours of practice. This accustomed him to technique and hard work; intense study of great composers led him to a deep sense of esthetics, also the direction of creativity required of a performing artist, which interestingly enough, fit photography very well."
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The Baroque Era, 2006.
A review of the Baroque era of music, art and architecture.
1,165 words (approx. 4.7 pages), 5 sources, MLA, £ 22.95
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Abstract
This paper takes a look at the era known as Baroque. This era was the time period between 1600 and 1750. The paper discusses how the Baroque era is generally associated with extravagant and ornamented art, music, architecture and styles. According to the paper, "Baroque" means "curious, odd, or strange" in French.
From the Paper
"Baroque music was the period of musical styles that preceded the Classical Music Era, and followed the music of the Renaissance. The majority of what people today will refer to as "Classical Music" actually originated during the Baroque period. Composers from this period include J.S. Bach, George Friedrich Handel, Antonio Vivaldi, and Claudio Monteverdi, some of the most commonly known "household names" in Classical Music. Important innovations were made in music of this time period, such as music theory, diatonic tonality, and the development of imitative counterpoint (Wikipedia "Baroque Music"), so while the music of this era, like the visual art, is known for its ornamental showmanship, it is also vitally important to the development of serious Western music. Like Renaissance music, Baroque music uses a lot of polyphony and counterpoint, but in the Baroque era these same concepts were used in a different way as " the order of these consonances becomes important, for they begin to be felt as chords in a hierarchical, functional tonal scheme." (Wikipedia "Baroque Music") The role of ornamentation increased during the Baroque era and then diminished come the following Classical Era, and the role of the counterpoint which was important during the Baroque Era was also faded out when the Classical Era began. Vocal soloists, dramatic music expression, opera, clear and linear melody, development to modern Western tonality using major and minor scales, and homophony are among other features that typify the music of the Baroque era. Music was also an integral part of theater -- such as the introduction and popularity of opera -- and dance which were popular during the Baroque Era."
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Aboriginal Australian Art, 2006.
This paper discusses the difficulty of understanding Aboriginal Australian art.
1,520 words (approx. 6.1 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper explains that the range of motifs used in Central Australian rock art depends upon the context of production; however, sacred and secret art is almost exclusively made up of geometric designs and tracks; while art in secular, domestic situations places more emphasis on figurative motifs. The author points out that Aboriginal Australian art, which spans all of pre-recorded history, is an expression of secrecy and the eternal. The paper explains that, as with other Aboriginal artistic systems, there was a range of secret geometric designs, such as the stripes and dots of white clay, red and yellow ochre and black charcoal that were painted on wooden objects, which could only be viewed by initiated men and were hidden away from domestic sites.
From the Paper
"Many of the bark and cave paintings have no ceremonial or religious function, but are produced for pure pleasure of creative effort, a pleasure which stimulates the true artist in all cultures. There are paintings, both on bark and in caves, which have more important functions. In the initiation rituals, secret designs, painted on sheets of bark, instruct the novitiates in the esoteric myths of the tribe, and, in western Arnhem Land, where some of the cave paintings have magical qualities, the old men can, by chanting the correct incantation at the appropriate season, force the magical power of the painting to increase the supply of food."
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Hegelian Aesthetics, 2006.
A discussion regarding Friedrich Hegel and the finite nature of art versus the infinite expression of cycles.
3,182 words (approx. 12.7 pages), 6 sources, MLA, £ 51.95
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Abstract
This paper reviews how Hegel's aesthetic ideal is associated with art or more specifically fine art, as the first of three expressions of the culmination of spiritual development from objective then subjective to the absolute, or the combination of both objective and subjective spiritual awareness. The paper goes on to discuss how 'absolute reality' is what Hegel would refer to as the 'absolute spirit', or the world spirit that is shared by all.
From the Paper
"Desmond goes on to say that Hegel claims that there has been a divorce of the self from art and that art no longer serves this purpose, yet many if not all artists would coldly disagree or even agree in the sense that art is driven not only by self but by a common current of art for the sake of the other, the consumer. Artists constantly challenge the concept of art for self as they outwardly grapple with selling something so reflective of self to another who may or may not understand the message. This is reflected in the modern by the idea that in art, music and even knowledge, success is a failure that many are seeking, again a reflection of the incomplete being the base of contradiction and need for synthesis."
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"The Rime of the Ancient Mariner", 2007.
A description of the effectiveness of Gustave Dore's engravings that accompany Samuel Taylor Coleridge's poem "The Rime of the Ancient Mariner."
916 words (approx. 3.7 pages), 0 sources, £ 17.95
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Abstract
This paper discusses Gustave Dore's set of forty-two engravings that accompany the story depicted in Samuel Taylor Coleridge's poem "The Rime of the Ancient Mariner." The paper quotes passages from the poem and describes how the accompanying engravings enhance the telling of Coleridge's story, in order to paint a more vivid picture for the reader.
From the Paper
"The engraving depicting the detention of the wedding guest at the beginning of the story sets the stage for the whole tale. Coleridge uses the frame story convention in order to enhance the story. The poem begins with the ancient mariner stopping a guest on the way to a wedding in order to tell the tale of his adventure at sea. This drawing is definitely on land, and serves to illustrate the contrast between land and sea that Coleridge intended. The background depicts a foreboding city scene, and the looks on the faces of the men in the engraving enhance the ominous atmosphere."
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Botticelli's "The Birth of Venus", 2007.
This paper discusses the painting 'The Birth of Venus' by Sandro Botticelli.
790 words (approx. 3.2 pages), 4 sources, MLA, £ 15.95
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Abstract
In this article, the writer discusses the artist Sandro Botticelli and looks at his most famous work 'The Birth of Venus'. The writer discusses various influences on the work of Botticelli and points out that he combined ideas of mythology with Christian concepts in his painting. The writer notes that the 'Birth of Venus' is believed to be inspired by the Homeric Hymns and Ovid. Furthermore, the writer discusses that in the painting itself, Venus is loosely correlated to the Virgin Mary, while Zephyr and Aura are represented as angels and the nymph Hora, who welcomes Venus, suggests the relationship of St. John to the savior. The writer concludes by pointing out that Botticelli's later works focus on more Christian subjects with traditional themes.
From the Paper
"In his art, Botticelli was truly a Florentine of his time as he spent his whole life there minus one year in Rome where he worked on the Sistine Chapel. Furthermore, the subject matter of his art was influenced by the social and philosophical atmosphere established in Florence by the famous Medici family. Botticelli benefited by a close relationship with that family at the height of their influence on the social and political atmosphere of Florence. Several of his works were painted either directly for the Medici family such as portraits or indirectly through commissions that the Medici family controlled. Without a doubt, Botticelli was a favorite in the family and had access to other artists and thinkers gathered around the family."
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Peter Carl Faberge, 2007.
An examination of the life and works of Peter Carl Faberge.
1,328 words (approx. 5.3 pages), 3 sources, MLA, £ 24.95
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Abstract
The purpose of this paper is to introduce, discuss, and analyze the topic of art in Russia. Specifically it discusses how Peter Carl Faberge's products have served, and been affected by, the idea that the arts in Russia are a political, religious, and philosophical arena for debate in the absence of a free press. The paper examines the effect Faberge has had on the arts in Russia. The paper further examines how Faberge is one of the most famous Russian artists in the world, with his works reflecting the opulence and garishness of the Victorian era, and illustrating the attention to detail and opulent decor that was so popular at the time. The paper concludes that Faberge brought world attention to the Russian art world.
From the Paper
"Faberge was an innovator, and that is another important part of his artistic legacy. He brought art nouveau to Russia and created a myriad of decorative pieces. Some estimate his designs numbered more than 150,000 (Von Hapsburg, 1996, p. 4). In actuality, Faberge never made anything himself. He employed hundreds of artisans and craftspeople who did the design and execution. Faberge's contribution was his shrewd business sense and the materials used, such as precious stones, the carving, and the use of gold and silver in the designs.
Faberge's works represented an opulent and excessive time in world and Russian history. The wealthy were extremely wealthy, and society was becoming more mobile, more open, and more interested in the world around them."
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Albert Einstein, 2007.
A discussion on the life and works of Albert Einstein.
1,772 words (approx. 7.1 pages), 4 sources, MLA, £ 31.95
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Abstract
This paper offers a detailed history of Einstein and the effects his works have on the world, including nuclear energy. It discusses his many theories and explains that often times these works were of religious motivation. The paper also discusses Einsteins effect not only in the science arena, but also on art and the development of Modernism and Post-Modernism in particular.
From the Paper
"In more theoretical terms, Einstein postulated several theories that challenged the nature of time and suggested both its relative nature depending on how it is measured and the possibility that it is reversible, something that clearly went against the traditional view. Einstein is really the figure around whom the changes in both the sense of time and of space swirl, for his theories challenged both and suggested ways in which both time and space could be changed, bent, twisted, and made into something different than people had once believed."
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"American Tropical", 2007.
A discussion on David Alfaro Siqueiros' mural "American Tropical".
1,202 words (approx. 4.8 pages), 6 sources, MLA, £ 22.95
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Abstract
This paper begins with a general discussion on three great 20th century Mexican-born muralists, namely, Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros. It continues to discuss David Alfaro Siqueiros' life and his controversial Los Angeles mural "America Tropical", in particular. The author includes reasons for its unenthusiastic reception by Los Angeles leaders in 1932. The paper also explores its great impact on public art.
From the Paper
"Arguably, Siqueiros's America Tropical has also been significant, within Los Angeles (and the United States), artistically; culturally; and expressionistically from the early 1930's on (even considering the quick and total censorship of it in 1932) because American Tropical was in fact the first large mural within the United States anywhere that was created specifically within public space, and public viewing, on a plain exterior public wall."
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Palmer Hayden, 2007.
A biography of the life and work of the painter Palmer Hayden.
971 words (approx. 3.9 pages), 11 sources, MLA, £ 18.95
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Abstract
This paper looks at the work of Palmer Hayden who was one of the first African-American artists to use African subjects and designs in his painting. In particular, it looks at how he was part of the "Harlem Renaissance" in the 1920's, a flowering of African-American social thought that was expressed through the visual arts, as well as through music and how it influenced his work.
From the Paper
"Although Hayden had pursued training in New York and Paris, his style has frequently been described as primitive. "In "The Janitor Who Paints", the figures' oversized hands and intense, cartoonlike expressions, as well as the freely treated space in which shapes are outlined as relatively flat areas of color, recall the simplified forms of American folk art." 7 Actually, these elements are present much more because of his highly personal approach to interpreting the vitality and challenges of African-American life than because of the broader influences of African and modern art that Hayden encountered in Paris ."
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