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Charles Shaw (1941 - 2005), 2004.
A critical look into the work of painter, Charles Shaw.
1,090 words (approx. 4.4 pages), 3 sources, MLA, £ 21.95
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Abstract
This paper reviews and discusses the life and work of painter, Charles Shaw. According to the paper, a first glance at most of Shaw's paintings reflects perfect depictions of the peaceful and quiet life of all the characters. However, aside from revealing the emotional state of the characters, the painter's work also represents war.
Outline:
Short Description of Shaw's Work
Impressions Upon the Viewer
Specific Details: Form, Content, Medium and Theme Form
Conclusions
From the Paper
"With watercolor paints, Shaw used brushes that held more water than the brushes used for oil or acrylic paint. With these brushes, the artist was able to paint a wide variety of lines and shapes, creating the desired effects quicker than with regular brushes.
Shaw created his own paints based on oil components by grounding and mixing pigments into a medium oil. He mostly used these paints on canvas, but also on wooden panel or pressed wood. On creating a painting in oil, Shaw first thoroughly prepared the surface. Then, he would apply a ground to isolate the surface from the acidic qualities of the paint, continue by developing a sketch of the main features in the painting and only afterwards apply the oil paints."
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Fashion and Architectural Design, 2007.
This paper explores the relationship between fashion and architectural design, viewing garments as portable dwellings.
1,431 words (approx. 5.7 pages), 6 sources, APA, £ 26.95
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Abstract
This paper examines the relationship of fashion and architectural design from anthropological and philosophical perspectives. Art is considered as a function of the society that produced it. The Victorian Era is cited as an epoch in which architecture and fashion were interconnected. This paper includes an annotated bibliography.
Outline:
Background
Research Design
Outline and Research Structure
Annotated Bibliography
From the Paper
"An age-old argument among scholars has been whether art influences society, or whether art is a reflection of the society that produced it. When one examines art as an expression of self, it is difficult to view it as anything other than an expression of society. Popular designers in architecture and fashion design works that achieve public acceptance. Therefore, it stands to reason that trends in architectural design and fashion design are a reflection of the society that surrounds them. This research will explore the link between fashion design and architectural design with an emphasis on the use of fabric and building materials as the medium. "
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French Art Auctions, 2007.
A look at the impact of the French auction market legislation reform on the French art market and international art auction business.
8,770 words (approx. 35.1 pages), 30 sources, APA, £ 104.95
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Abstract
This paper explores the effects of the opening of the French auction market to foreign auction houses on local French auction houses, the international auction market and the French art market in general. Specific problems that are investigated in include the impact of the French auction market reform on local French auction houses and whether they have thrived in competition with their larger international counterparts.It also looks into related issues, such as whether the change in French legislation has led to the export or import of more works of art into France for sale and whether the high taxes and stringent regulation regarding the sale and exportation of works of art from France offset any increase in the market share that would have come from the liberalization of their auction market.
Outline:
Introduction
Background Information
A Brief History of the Auction Market in France
Changes Brought By the Reform
Impact of the Reform
Conclusion
From the Paper
"Ever since the profession of auctioneer was invented in France, some five hundred years ago, they have been government officials, a kind of civil servants appointed by the Ministry of Justice because the art auctioning business was viewed as a public service just like justice and internal affaires. This monopoly was established by a royal edict of Henri II in 1556. All the profits from the activity went to the French state. All these authorized auctioneers were holding a monopoly over the art sales that were conducted on the French market. They were not only controlled and appointed by the government, they are actually considered to be government officials. "
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Croquet Scene, 2007.
This paper analyzes an oil painting on canvas called 'Croquet Scene' by Winslow Homer.
1,334 words (approx. 5.3 pages), 0 sources, APA, £ 24.95
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Abstract
In this essay, the writer looks at the painting 'Croquet Scene' which is one of a series of five paintings dedicated to the game of croquet. The writer explains that at the time of its creation in 1866, croquet was becoming extremely popular in America especially with the upper-middle class. Further, the writer points out that croquet was one of the only activities deemed socially acceptable for both men and women to compete as equals, and so the game offered a good opportunity for interesting compositions. The writer describes that in the painting, the woman in red is lifting the hem of her skirt to place a foot on the ball to "croquet" her opponent's ball off the playing field. The writer then notes that the man kneeling at her feet is reaching out to steady the ball for her, but it is unclear whether his intentions are chivalrous, or if he is performing this courtesy in hopes of getting a glimpse of the woman's ankle, which would have been considered highly erotic at the time. The writer discusses that the ambiguity of the composition makes the piece so much more than just an illustration.
From the Paper
"The focal point of this painting is the croquet ball that the woman in red is about to place her foot on, and there are multiple ways that Homer has manipulated the visual elements of this work to draw the viewer's eye down to the ball. The ball itself is placed within the shadow of the woman in red, bringing the ball's light orange color into stark contrast with the background to where it practically glows. Also, the three standing figures of the women along with the stooping form of the man with the croquet mallet positioned at an inward angle in his hand act as a visual funnel, directing the eye down to the ball. Of course, not only is the figure of the man angled to help this funneling effect, but he is pointing down at the ball as he reaches for it. To reinforce the focal point even more, the largest figure in the foreground, the woman in blue, is pulling down her hat, creating a clean arrow from the swallow-tail sticking out the back of her hat to her elbow, which is pointed directly at the ball."
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Wilde Visions of Paterian Aesthetics, 2007.
This paper analyzes works by Oscar Wilde and Walter Pater, examining parallels with regards to ethics and aesthetics.
19,650 words (approx. 78.6 pages), 25 sources, MLA, £ 141.95
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Abstract
In this work, Oscar Wilde's plays are partially taken into deep consideration as an analysis of his playwright identity. In the process of the discovery of his decadent resentment of the late nineteenth century orders, the influential figures of the new movement are also indicated. Oscar Wilde and Walter Pater have important parallels among their Epistemologies, ethics and aesthetics. The writer uses extensive examples primarily regarding to Pater's first book, Marius The Epicurean: His Sensations and Ideas (1885) and Wilde's plays of 1894, An Ideal Husband, and The Importance of Being Earnest, to display their aesthetic ideology to demonstrate the precise link between the two, for it has never been convincingly interjected. The main question underlying this paper is of how Wilde perceives art. While exploring his conception of art, dandy-ism is comprehensibly touched in order to reveal his aesthetic identity. However, this paper discusses his aesthetic ideology in the context of individualism through the referencing of some of his works, particularly his aforementioned plays. The question at the basis of this preoccupation is of how Wilde displays the expressing of individuality and idiosyncrasies through art and in particular the value of art.
From the Paper
"The use of Puns is another concept that pars to both the aesthetic identity of Walter Pater as well as the aesthetic identity of Oscar Wilde. In this play "The Importance of Being Earnest", the pun, which is generally believed to be the lowest structure of oral humor, is hardly ever just a humor on words. The duality of the title in itself is proof of that. One example of such a notion lies in the earnest/Ernest humor that is utilized to hit the very truth of all the Victorian ideas and rules regarding propriety and responsibility. Gwendolen wants to be betrothed to a man named Ernest, without giving a thought to whether the man bearing such a name bears its qualities too or not. She, nevertheless, immediately exonerates Jack's dishonesty in personifying a man who is originally neither "earnest" nor "Ernest," and who, because of forces stronger than his own power, consequently develops both "earnest" and "Ernest." Jack is a perfect paradox and a compound emblem of Victorian duplicity."
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Continuous Narrative Art, 2007.
This paper discusses the art technique called continuous narrative in which the same figure appears more than once in a single scene.
3,580 words (approx. 14.3 pages), 7 sources, MLA, £ 56.95
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Abstract
This paper explains that the Roman aesthetic approach, known as continuous narrative, makes use of a number of images of the same figure within a work, linking different aspects of a story together and evoking meaning while setting events distant in time in the same frame. The author points out that these works are reproduced in a variety of media, including on vases and cups, on huge towers, on walls as friezes or frescoes and on panels to be placed on the wall. The paper relates that an examination of some of the panels found at Pompeii shows some of the ways in which images were linked together to form a narrative, although this narrative would often be less then crystal clear because of the possibility of different interpretations.
Table of Contents:
Introduction
Continuous Narrative Art
Continuous Narrative at Pompeii
Conclusion
From the Paper
"Under and slightly to the right of the tree and column, Polyphemus sits on top of an outcropping formed by a steep pile of rocks, on which four white, wooly sheep graze. In the right foreground, at the base of the outcropping, a tall column carries a small statue. The statue is depicted in three-quarters view to the left, facing towards Polyphemus. Although the figure appears to wear a cloak and some sort of headdress, the statue's large, erect phallus allows for a secure identification of the figure as Priapus."
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Nursing as Art and Science, 2006.
A look at photography studies of nurses and a discussion regarding the fusion of art and science.
1,790 words (approx. 7.2 pages), 7 sources, MLA, £ 32.95
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Abstract
This paper takes a look at photographs of nurses at work and discusses how the art depicts and captures the science. The paper explains each photo in detail from both an artistic and scientific point of view, bringing in additional aspects such as humanitarian values.
Overview:
Introduction
Nursing as Human Art
The Role of Children in Nursing Arts
Nursing and Education
The Use of Imagery in Public Education
From the Paper
"The only time-bound elements of the photograph are physical. The ideal depicted by the image is however timeless. Nursing is a science and an art acquired by thorough and excellent education. Education, like nursing, is both a science and an art.
In terms of science, the imagery is obvious. The books lining the shelves, along with the document in the professor's hands, depict the scientific element. There are very specific and concrete elements connected with nursing. Nurses need a large amount of concrete, scientific knowledge before entering the profession.
In terms of art, the aesthetic value of the picture is a complimentary depiction of the rather formidable professor and the amount of books behind her. She appears to suggest that excellence is only achieved by hard work and learning. The black and white of the picture furthermore compliments this idea."
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Greek - Renaissance Art, 2007.
This paper compares and contrasts the sculpture 'Apoxyomenos' by Lysippos with Michelangelo's 'David'.
880 words (approx. 3.5 pages), 4 sources, MLA, £ 17.95
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Abstract
In this article, the writer looks at Greek art through the work of sculptor Lysippos and compares it to the Renaissance art of Michelangelo. The writer discusses that the figure of Apoxyomenos clearly served as inspiration for future human sculptures. In comparison, the writer points out that Michelangelo went many steps further to create figures like David which express truly realistic human appearances and emotions. The writer comments that Lysippos clearly revolutionized Greek art by giving to his works a true third dimension. In contrast to Lysippos' Apoxyomenos, Michelangelo's David, perhaps the most astonishing piece of free-standing sculpture ever produced in Western art, truly represents the human form in all its beauty and proportion.
From the Paper
"One was the new canon of proportions which replaced the Polykletian canon and reflects a change in taste noticeable in all other Greek artforms. For this new canon, Lysippos created a slender, supple and tall figure, realized as if moving in true space in three dimensions. Thus, this figure moves in a kind of freeform arena through the space around it and was designed to be viewed from a number of angles.
Also, the arms of this figure curve forward, an indication that the sculptor was attempting to show the athlete reaching and twisting in actual space. The rather small size of the head is thrown into a stronger perspective by the large hand interposed between it and the viewer."
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Totem Poles, 2007.
A discussion on totem poles as a spiritual form of ethnic art.
2,319 words (approx. 9.3 pages), 5 sources, MLA, £ 40.95
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Abstract
This paper researches and writes about the building of totem poles as a spiritual, multicultural art form. Specifically, it looks at the recent totem poles carved by Jewell Praying Wolf James from the Lummi Native American Nation. It also discusses the tradition of totem poles and how their use and meaning may have changed in Native-American culture from the late 18th century to present day.
From the Paper
"Despite the long and important tradition of totems and the celebrations relating to them (called potlashes), they have experienced great challenges and setbacks in the past centuries. In Canada, the Indian Act of 1876 made potlatching and other Native customs illegal. Many consider that the Indian Act destroyed tribal life in Canadian Native Americans, and it certainly had an impact of native culture and art; totem poles and other art was destroyed or confiscated, and people violating the laws were imprisoned or fined heavily. In both Canada and the United States, the abuse of Native Americans and their lack of rights under the American and Canadian governments resulted in mass export of their art, if it was not destroyed (Malin 167-68). "
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Monuments to the Lost Cause, 2006.
This paper discusses "Monuments to the Lost Cause--Women, Arts and the Landscapes of Southern Memory", edited by Cynthia Mills and Pamela H. Simpson.
900 words (approx. 3.6 pages), 1 source, APA, £ 17.95
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Abstract
In this article, the writes examines "Monuments to the Lost Cause--Women, Arts and the Landscapes of Southern Memory" which consists of a series of fourteen scholarly essays regarding commemorative Civil War monuments. The writer discusses the authors' interest in historians giving a multifaceted perspective to the monuments, including a history of their creation, why women so often lead the charge for commemoration and the African-American response to the statues. The writer concludes that the book persuasively suggests that through collective associations such as The Daughters of the Confederacy, women found a voice in the public discourse, albeit one that was socially acceptable because it was in the name of a dead cause.
From the Paper
"Of course, one of the reasons for the devotion of artistic critiques to Northern sculptures is that many of the most important sculptors were working primarily in the North following the war, because the North was the winning side and had the greater financial resources. However, Simpson and Mills note that the South still has abundant public commemorative sculptures despite this. The authors suggest that perhaps, as a chronicle of the losing side, these sculptures not only pose features of interest, but perhaps even of greater interest, as they help the gazer understand the appeal of the Confederate cause amongst many Southern whites today. Diversity and speculation are thus the themes of the book, rather than drawing a singular conclusion."
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Kim Williams, 2007.
Critiques an exhibition given by American-Vietnamese artist, Kim Williams.
1,518 words (approx. 6.1 pages), 3 sources, APA, £ 28.95
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Abstract
In her essay, "Why Have There Not Been Any Great Vietnam Artists?" Nora Taylor, a Vietnam art historian, questions how it could be possible that Vietnamese artists have never received their due for their outstanding works. Thanks to globalization, this unfortunate trend is at an end as other artists, collectors and art lovers recognize and enjoy the creative and historic value of this Asian artwork. This paper comments on an exhibit which showed the art work of Vietnamese-American Kim Williams. The paper notes that it was an enriching global blend of the best of both Eastern and Western traditions.
From the Paper
"Such warm renditions, however, are juxtaposed against the harsher reds, blacks, and whites of the war pictures of the fires, bodies, injured, destroyed villages and lands. The American and Vietnamese soldiers and the Vietcong, the shells, Agent Orange and gunfire, the same mothers, grandmothers and children dying or dead. It is hard to believe that the same artist who painted the mother and daughter playing a game could have this inside her as well."
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Glass as an Art Form, 2007.
This paper discusses whether glass work can truly be considered as a fine art or if it is relegated to being just a craft.
6,728 words (approx. 26.9 pages), 30 sources, APA, £ 86.95
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Abstract
In this article the writer notes that for many years, glass work has been considered a beautiful craft form, mostly used in pieces as decor or an element of design. The writer discusses why has it been that for so many years, glass has been singled out in this way, even to its exclusion over such sculptural and less beautiful materials such as bronze and stone. The writer discusses the relegation of glass to the field of decoration, craft and design rather than that of fine art. In addition, the writer explores the elements which are necessary for sculptural works to be considered fine art. The writer examines what the recent explosion of interest in glass work has done to improve the image of glass as an art form. Ultimately, The writer looks at who defines the difference between art and craft - whether this is the artist, the critic or the viewer.
Introduction
Background - Definition of Art
Discussion
References
From the Paper
"Such a weighty question probably lies beyond the boundaries of a paper such as this, so for the answers to this question we shall look to the ages and describe on how art has been defined in the past. Robert Collingwood, in his seminal work The Principles of Art made what is probably still considered to be the clearest definition of art. To Collingwood, art was the expression of emotions, and lives in the realm of emotion. Collingwood believed that the expression of emotion via art was a process which moves slowly from the hidden and vague to that which is explicit and clear. To Collingwood, art was the process of exploring emotions, which live within the subconscious of the artist and are not known to the artist beforehand. Collingwood was able to discern art from craft in that he believed that in crafts, the works man, the salesman knew before even the initiation of the project what emotion is being evoked, and that craft is then more calculating and deliberate in it's manner of arousing an emotional response. Ayn Rand also expressed theory surrounding art in several of her essays."
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Photographic Digitization, 2006.
This paper discusses the digitization of photography and its impact on the photography institutions in the arts.
1,094 words (approx. 4.4 pages), 5 sources, MLA, £ 21.95
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Abstract
The topic of this study is the digitization of photography and its impact on arts institution administration. The writer discusses that there are several avenues to be explored when assessing the impact of digitization, from the purely technical to the purely artistic. Within the exploration of these areas of interest, the writer maintains that an assessment may be constructed regarding what changes, for good or ill, might be caused by an increasingly expanding digital photography universe and not least because of the sudden and almost total accessibility of virtually everyone to digital photography equipment. The writer claims that this will undoubtedly change the photography world; whether it will cause a greater or lesser interest in the work of photographic artists has yet to be seen. The writer concludes that in either case, however, the process is likely to cause significant change in art administration.
Table of Contents:
Statement of the Topic
Objectives of Research
Design and Methodology
Sampling
Timeline
Justification
From the Paper
"Because photographic digitization depends on developments in information technology, an assessment of Moore's Law on the changes in photography and resulting changes in arts administration is required. Moore's Law, developed by Gordon Moore a generation ago, when computing was in its relative infancy, proposes that "the performance for a given price of microprocessors doubles every 18 months...." At the time, Herman said that process continued unabated; it is conceivable that the doubling of capacity is even quicker by now.
In any case, because of this, planning for 'cutting edge' shows would become more and more demanding; in fact, it will become more and more incumbent upon arts administrators to keep breast of changes in digital photography, and perhaps even to anticipate them. This changes the administration role from a relatively passive to quite an active role."
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Irish Art from 1800 - 1850, 2006.
A look at the influences on Irish art and how it changed between the years 1800 and 1850.
1,907 words (approx. 7.6 pages), 8 sources, MLA, £ 34.95
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Abstract
This paper describes the social, political and economic conditions in Ireland, between 1800 and 1850, that influenced Irish art of that era. The paper explains that Irish art at that time was significantly influenced by Ireland's push for independence and the great potato famine and that these two events helped move Irish art away from an emphasis on classical motifs and towards an emphasis Celtic motifs.
From the Paper
"Maria Edgeworth, a novelist, also could be assumed to have had a hand in altering the pictorial content of Irish art from the neoclassical, if somewhat infused with Celtic motifs, to the shamelessly Romantic. Edgeworth, born in 1798, was born in England but came as a very young child to Ireland. She died in 1848; her working period, therefore, coincided perfectly with the change from the Ascendancy and classicism to a more Romantic view of the world. "Her novels Castle Rackrent and Ennui (1809) feature plots in which peasants reclaim Irish land." In the paintings favored by the Ascendancy, the subject matter was more likely to be the Ascendancy, or its horses, dogs and fine houses, all done in a neoclassical style with the addition of some Celtic symbolism, particularly as it was the Ascendancy that had worked to popularize four motifs; the shamrock, the Irish wolfhound, the harp, and Brian Boru's Tara brooch."
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