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Hyperbolic Geometry, 2007.
An examination on using M.C. Escher' "Circle Limit III" to instruct students in hyperbolic geometry.
2,279 words (approx. 9.1 pages), 6 sources, MLA, £ 50.95
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Abstract
The paper examines how, though not always apparent, there are a number of significant connections between mathematics and art. The purpose of this paper is to demonstrate how the fundamental similarity between math and art can be exploited as a means to teach difficult mathematical concepts to students. To show how this could happen, a particularly complex--if intellectually intriguing--mathematical concept is explored: the concept of distance in hyperbolic geometry, specifically in a Poincare disk.
Outline:
Introduction
Context: What Is Hyperbolic Geometry?
Context: Who Is M.C. Escher?
Developing an Appropriate Class Project
Conclusions
Works Cited
From the Paper
"Since mathematics education produces singular anxiety for many students, this confluence with art presents significant possibilities for the imaginative educator (Granger 10). It is possible that we could, as educators, use art as a physical and visual means of explaining complex mathematical concepts in other than abstract terms. Over reliance on complex equations and difficult language can and will stymie many students. By endeavoring to ground mathematical theory in artistic reality, students can leans mathematical lessons in the process of seeing how math and art aren't really all that dissimilar."
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Minimalism in Interior Design, 2007.
This paper explores the method of minimalism in interior decorating.
2,411 words (approx. 9.6 pages), 7 sources, MLA, £ 52.95
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Abstract
The paper explores how minimalism can create a new direction in the interior design field and how interior design and minimalism will complement each other. The paper examines how minimalism in interior design would be marketable and how this type of interior design would work for a commercial setting. The paper discusses how the 'Minimalist' method holds great promise for interior decorators in applying their talents as well as in gaining work due to the lower costs involved. The paper also reveals that the marketability of minimalism in today's world market holds great promise in today's environmentally-conscious world.
Outline:
Objective
Introduction
Interior Design and Minimalism in a Working Relationship
Minimalism and the Creation of a New Direction of Design
Marketing Minimalism in Interior Design
Minimalism in Commercial Interior Design
Summary and Conclusion
From the Paper
"The first step in attempting to research and ultimately answer the questions posed in this research is to apply a definition to specifically what is meant by Minimalism in Interior Design. According to Gilbert Brownestone, a curator in Palm Beach, Florida and Paris: "Minimalism is simple to the point of complexity...It evokes a spiritual response from the viewer." (Kim, 2003) The definition applied in the edict of Mies van der Rohe is: 'less is more', Minimalism in architecture is a working method in which aesthetic force and capacity are employed to create an effect that astonishes without the aid of superfluous elements. Its essence ...and its intention is to accommodate life simply but beautifully." (Minimalist Space, 2006)"
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"Le Bassin des Nympheas", 2007.
A look at the painting by Claude Monet entitled "Le Bassin des Nympheas".
940 words (approx. 3.8 pages), 5 sources, MLA, £ 23.95
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Abstract
The paper discusses one of the most impressive pieces shown in the Denver Art Museum, Claude Monet's 1904 painting, "Le Bassin des Nympheas". The paper relates that this painting may not be the most famous, but it carries all Monet's trademarks and is just as beautiful as any other painting of his. The paper portrays how, as with other impressionist works, the striking element remains the brushwork and the way in which the mixing of vibrant colors on the canvas creates such shapes and feelings inside the viewer.
From the Paper
"The painting in discussion is more than a century old, having been done in 1904. Proportionately it is a square and, as the title suggests, the painting is a landscape whose main "character" are some water lilies of different colours, floating on the water that reflects the landscape around. The view is concentrated on the water surface, and the surrounding landscape can only be quested by its reflection, thus pointing out to the subject of the painting. The reflection in the water is hazy, so you can't really see what it is that is reflecting, so by contrast the water lilies appear clearly, even though they aren't more clearly painted, the brushwork hasn't been changed."
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Pablo Picasso, 2007.
This paper examines the life and work of Pablo Picasso between the years of 1932 and 1935.
2,805 words (approx. 11.2 pages), 11 sources, APA, £ 59.95
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Abstract
This paper describes the influences on Pablo Picasso's work during the years between 1932 and 1935. The writer cites the influence of Picasso's personal and romantic relationships as having a significant impact on his style and subject matter. The paper also details the friendly and respectful rivalry between Picasso and Henri Matisse, and the influence of surrealism on Picasso's work. Several of Picasso's paintings are described and analyzed.
Outline:
Introduction
Marie-Therese Walter
Matisse
The Paintings
Conclusion
From the Paper
"The renowned art critic Hebert Read characterizes the period between 1932 and 1935 as a period of intense creativity, psychological change and growth in Pablo Picasso's life. It is also seen a period of soul-searching and a change in style, which is characterized by portraits and paintings of archetypal female images. Read states that these archetypes and the style of this time were preceded by paintings such as Woman in an Arm-chair (1929) and the Standing Bather and Seated Bather of 1929. This style, according to Read, was to continue throughout the rest of Picasso's career. (Read 149/150)"
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Negotiating, 2007.
This paper studies the act of negotiating, concentrating on creating artistic and financial value in commercial arts negotiations.
780 words (approx. 3.1 pages), 2 sources, MLA, £ 19.95
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Abstract
In this article, the writer notes that according to the guidebook 'The Manager as Negotiator', the very essence of negotiation is creating and claiming value. The writer explains that every person in a negotiation strives to advance his or her interests and maximize his or her advantages. Further, the writer points out that the goal of the process is ultimately to attempt to bridge the gap, ideally, between two different points of view by creating a more equitable solution that improves upon either party's narrowly advanced interests. The writer concludes that this dilemma between the producers and the musicians highlights the difficulty of negotiation when two parties approach the issue not simply with two distinct interests, but from two different philosophical paradigms of who owns the art that is the essence of both side's livelihood and lives.
From the Paper
"David Lax's and James Sebenius' illustration of this principle is that of bartering. For example, two persons with different material goods, such as bananas and pears, are able to come to an better agreement if they can arrive at a fair price, than they would be had they refused to trade at all, as both will have more variety of foodstuffs in the long run. However, this example can prove difficult when one party attempts to transpose this assumption onto the field of the arts. In business negotiations, finances tend to dominate. No matter how divided the two parties are in terms of how they see an issue, usually the crucial matter involves dollars and cents. Likewise, in a divorce settlement, emotions and the welfare of the children often dominate the proceedings, even though finances are also an issue. Regardless, both parties tend to view the proceeding from the same paradigm - either primarily from a professional or a personal standpoint."
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Teaching: An Art and A Science, 2007.
This paper describes how teaching is both an art and a science.
1,488 words (approx. 6.0 pages), 7 sources, MLA, £ 35.95
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Abstract
The paper discusses how teaching is an art because teaching is, by its very nature, creative and interpretative. The paper shows how it requires both experience and previous advanced-level study of an academic subject. The paper maintains that teaching is also a science because it involves both the formal study of education and/or an applied academic area. The paper relates that teaching also requires a scientific process of trial and error in order to evaluate which pedagogical approaches and techniques work well in the classroom.
From the Paper
"Subsequently, student teaching gives the newest teachers their first actual classroom teaching experiences, and then teachers acquire further teaching experiences in their own classrooms once they finish their student teaching requirement. Experience is valuable for teachers because it is that alone that teaches them what works in the classroom and what does not; it is through experience, in fact, that teachers acquire (or, in many cases, do not acquire) the distinct "artfulness" of teaching style that distinguishes them in their profession and sets them apart from others."
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Artistic and Cultural Movements in the 20th century, 2007.
This paper portrays the trends in art, music and literature that emerged in 20th century France.
1,175 words (approx. 4.7 pages), 5 sources, MLA, £ 28.95
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Abstract
The paper discusses how the late 19th and early 20th centuries enjoyed a prolific variety of artistic and cultural movements that forever changed the faces of visual arts, literature and music. The paper describes how the early 20th century in particular seemed to be a time ripe for intellectual and creative innovation. The paper mentions Pablo Picasso, Ernest Hemingway and Josephine Baker as a part of this amazing community of artists. The paper illustrates how Paris of the early 20th century experienced an epidemic of creativity that spilled over and infected countries around the world and started the ripples that would eventually build up to crashing waves of major artistic movements.
From the Paper
"Paris reacted to the end of the war with absolute jubilance. It seems like a logical consequence that after facing half a decade of fear, violence, death and disease the city would explode into an atmosphere that nurtured anything that smacked of life. Drinking, drugs, sex, and the Running of the Bulls lured many up-and-coming and some already established artists to the city (Seigal 18). An unprecedented mingling of great minds and talents created such an artistically charged atmosphere left even the dullest among them inspired and eager to create. The city became an artist's Mecca, drawing in talents of all caliber and envy from those who couldn't make it."
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"The Toilet of Venus" (1647-51) by Diego Velasquez, 2006.
This paper discusses the gender construction in the painting "The Toilet of Venus" ("The Rokeby Venus") (1647-51) by Diego Velasquez.
2,765 words (approx. 11.1 pages), 9 sources, APA, £ 58.95
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Abstract
This paper explains that Diego Velazquez's "Toilet of Venus", popularly known as "The Rokeby Venus", created a great deal of controversy in the early 20th century. The author points out that, while the artist himself was inspired to create this artwork based on socially acceptable views of women at the time and while it could be featured today in any reputable museum without causing so much as a blink by even the most conservative audience, these perceptions tend to change over time. The paper relates that the gender construction developed by this work of art was deemed sufficiently exploitative that military female activists, known as suffragettes, targeted it for destruction because of its lurid portrayal of the nude female form and its suggestive qualities. The paper includes a picture of the painting and several long quotations, many of which are embedded in the text.
Table of Contents
Review and Discussion
Background and Overview.
Historical Setting and Social Transitions.
Treatment of Gender Construction in Valezquez's "The Rokeby Venus."
Figure 1. Velazquez, "The Rokeby Venus".
Conclusion
From the Paper
"According to Bartley (2003), the Women's Social and Political Union (WSPU) was founded by Emmeline Pankhurst, her daughters and some friends to campaign for votes for women. ... The suffragettes as the WSPU members were called, engaged in a wide range of activities that targeted existing gender disparities, including chaining themselves to railings, writing "Votes for Women" with acid on golf courses that were all-male, disrupted the postal service, verbally and physically attacked members of parliament, put graffiti on government buildings and even church walls and broke windows as well as attacking specific works of art in public galleries and burnt down buildings."
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William Morris, 2007.
A biography of the life of poet and artist William Morris.
2,194 words (approx. 8.8 pages), 7 sources, MLA, £ 48.95
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Abstract
This paper looks at the life of William Morris, a nineteenth century poet, artist, designer, and socialist reformer, noted for, among other things, his designs in stained glass. The papr relates how, in his work, Morris emphasized craftsmanship and the natural beauty of materials and that, in this regard, Morris' work was a reaction against the heavily ornate and mass-produced goods of the Victorian era.
From the Paper
"When Morris was at Oxford, he read Ruskin's work and later embarked upon a career in the decorative arts, which was then not seen as a "suitable" occupation for a man of the upper middle classes, though Harvey states that "he must have taken heart from Ruskin's assertion that the decorative arts were serious arts, because, along with architecture, they created the visual environment in which men and women lived" (Harvey 15). Ruskin elevated images of medieval society, showed a preference for hand-crafted wares, and insisted that the artist, designer, and craftsman should be seen as one."
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Sandro Botticelli, 2007.
This paper explores the life and works of Sandro Botticelli, a Florentine artist who painted during the early Renaissance period.
1,539 words (approx. 6.2 pages), 10 sources, MLA, £ 35.95
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Abstract
This paper examines Sandro Botticelli's life and influences on his painting. First, the writer gives a brief biography of Botticelli's life, citing the major philosophical and artistic influences that affected his art. Next, some of Botticelli's works are described with an emphasis on his personal style and subject matter. In particular, the paper cites the influence of Neo-Platonic philosophy on his works and the concept that there is an ideal world as opposed to the ordinary world of common reality.
Outline:
Introduction
Brief Biography and Influences
Influences, Style and Art
From the Paper
"In more philosophical and theoretical terms one of the major influences on his life and work was that of Christian Neo-Platonism. This was a theory or view that attempted to, "...reconcile classical and Christian views," and was to have a profound influence on the subject matter of his works, as well as on his style. (Sandro Botticelli: 1445 - 1510) The Christian Neo-Platonic attempt to bring together these different views of life and reality can be seen in famous works like Birth of Venus. In other words, this was an attempt to bring together Christian and pagan subjects and styles."
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Andre Derain, 2007.
An analysis of the life of Andre Derain and an analysis of his artwork, "Charing Cross Bridge."
1,537 words (approx. 6.1 pages), 5 sources, MLA, £ 35.95
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Abstract
This paper discusses the life and works of Andre Derain, who was one of the most interesting artists of the 20th century. The paper discusses Derain's various painting styles, but describes him as best known as one of the fathers of fauvism, which was the first movement of the modern period which developed in France. The paper specifically focuses on analyzing his artwork entitled "Charing Cross Bridge."
Table of Contents:
Introduction
Charing Cross Bridge
Conclusion
From the Paper
"The abandoning of more traditional modes of painting is extremely evident in this painting. The photographic quality that is often scene in landscape paintings is not present. In addition, Derain uses extremely vivid colors and the colors have very little variation (light and dark shades). Instead Derain uses flat color. At the time this was a very revolutionary form of painting. Indeed Bazin et al explains that most of the fauvists including Derain were often confronted with bourgeois conformity or the tutelage of younger artists (Bazin et al). However they displayed a type of progressive freedom in the way they carried themselves and how they spoke (Bazin et al)."
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Art Politics, 2006.
A discussion regarding the question 'What is Art?'.
992 words (approx. 4.0 pages), 5 sources, MLA, £ 25.95
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Abstract
This paper takes a look at the issues surrounding the question of what is art. According to the paper, this seemingly simple question has been asked for years, perhaps even for centuries. The paper attempts to answer this question.
From the Paper
" The artist brings to the show one of his/her most beautiful pieces of art, but the subject is a naked 10 year old boy in an erotic pose. The artist believes it is a masterpiece, but the owner of the gallery views it with horror. The artist is told that it cannot be displayed. The artist sadly takes the piece away and does not display it. After the artist dies, the piece sells for $1 million and is considered the artist's finest work. This could be an example of the power of the gallery owner or director."
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BalletNY and the History of Ballet, 2007.
This paper provides an overview of the history of ballet and looks at the BalletNY dance company.
1,909 words (approx. 7.6 pages), 11 sources, MLA, £ 43.95
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Abstract
Describing ballet as a classical dance form characterized by grace and precision of movement and elaborate formal technique, the writer of this articles presents a history of ballet. The writer looks at the BalletNY company and notes that BalletNY has become a well known and respected dance Company. The writer discusses BalletNY's principal dancers. The writer concludes that the New York City Ballet has done what BalletNY hopes to do, acquire one of the largest, most faithful, intelligent, and enthusiastic audiences in the American theater world.
Outline:
Humble Beginnings
The Emergence of Ballet
Opra Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper
"Formerly DanceGalaxy, BalletNY was founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and International Guest Artist Medhi Bahiri. BalletNY is comprised of accomplished principals and soloists who have danced with leading American and international ballet companies such as New York City Ballet, American Ballet Theatre, Dance Theater of Harlem, and the Joffrey Ballet, among others."
"Judith Fugate is a former principal ballerina with the New York City Ballet. She has danced roles in virtually every ballet in the NYCB repertoire counting Peter Martins and Mikhail Baryshnikov among her many famous partners. In 1997, she left the New York City Ballet Company to purse a career as a freelance Guest Artist and Co-Artistic Director of what is now known as BalletNY."
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Japanese Prints and the Impressionists, 2007.
This paper explores the influence of Japanese printing on 19th century European art.
1,600 words (approx. 6.4 pages), 10 sources, MLA, £ 37.95
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Abstract
This paper explores the influence of Japanese wood-block prints on Impressionist and Post-Impressionist painting. The writer introduces the evolution of wood-block printing in Japan and its distinctive form, technique and style of drawing that attracted the impressionists. This is followed by a listing of artists who were exposed to these prints and how they affected their works. These artists include Degas, Pissarro, Cassatt, Renoir, Morisot, and Manet among others.
From the Paper
"This type of printing changed during time, and the works that we see today and also the ones the impressionist saw were the end product of a long evolution. "Printmaking is composed of the division of labour of many craftsmen, such as painters, engravers and printers, and needs at least the same number of different woodblocks as colours, often more than twenty wood-blocks. At first, there was just a one colour woodblock prints with brush-added colour in the 1710s, then two or three colours wood-block prints evolved in the 1740s, and finally in the 1760s the multi-colour wood-block prints called "nishiki-e" (brocade picture) was invented and continued to the early Meiji period in 1890s." "
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