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The Secularization of Naples, Italy: The Plague to the Enlightenment, 2006.
An examination of several select aspects of Naples, Italy from the period of the 14th through the 18th centuries.
2,227 words (approx. 8.9 pages), 10 sources, MLA, £ 40.95
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Abstract
This paper examines several select aspects of Naples, Italy from the period of the 14th through the 18th centuries in which a secularization of thought was seen. The paper begins with a discussion of dominant ideas in the medical profession during the European plague, followed by a consideration of why medicine should have been an area of secularized thought. The author then examines the effects of the Bourbon government on the thought of Neapolitans, and Naples as a rising center of the Italian Enlightenment. He then discusses the transition in the art of Naples after the Italian Renaissance. The paper concludes with the author's own opinions as to how physicians instigated the movement away from religious dependence in Naples, stating that it was artists who brought the movement to fruition. Table of Contents: Introduction The Medical Profession During the Plague Years The Rise of the Bourbons in Naples The Secularization of Neapolitan Art Conclusion
From the Paper
"This man, then, seems to have been less willing than his patients to attribute the recovery of those with the plague or similar diseases to the direct intervention of God. It should be noted, however, that the phrase "some servant of God, whether dead or alive," could indicate that the physician would not be willing to say that a patient cured by an angel or ghost had received a miracle. Angels and ghosts seem today to be on the same level of supernaturalism as God, so one would be inclined to say that this physician was still a very superstitious man because he simply believed in these things. However, it must be remembered that during this time almost no one among the commoners would have asserted that angels, in healing the sick, were not performing miracles."
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Michelangelo?s "David", 2006.
The history of Michelangelo's "David".
1,575 words (approx. 6.3 pages), 3 sources, MLA, £ 30.95
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Abstract
The paper explains how the statue of "David" became the symbol of Florentine liberty, and served as an inspiration to every Florentine. The writer explains that Michelangelo's study of human anatomy is evident in the way he created the body of "David". The paper compares Michelangelo's artistic style to other artists of his day. In conclusion, the writer states that the statue of "David" is such a powerful work of art that it could convert a non-believer into a believer by the force of its beauty.
From the Paper
"The beauty of David encompasses not only the superb physical beauty, the lithely strong body and face of a Greek god, but the inner force of a man imbued with supernatural powers that can only be derived from a Supreme Power. It is the inner force the statue of David exudes that captivated the Florentines and inspired them when they so badly needed inspiration. This inner force has made the statue of David a masterpiece for all civilizations, past, present and future. "If Michelangelo would have only created the outward physical beauty that art historians believe embodies that era, the statue of David would still have merit, but this would not have satisfied Michelangelo, who was in pursuit of perfection, as a means to reach his own Creator. Michelangelo worked with energy and passion on David. The statue of David embodies the energy and passion of Michelangelo and also of the man who once ruled the Jews. Michelangelo once said that art was from heaven. If this is so, the statue of David was divinely inspired and as divinely inspired as the boy king of Israel once was."
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Cubism, 2006.
A study of the 20th century art movement, cubism.
1,550 words (approx. 6.2 pages), 5 sources, MLA, £ 29.95
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Abstract
This paper examines the style, artists and impact of cubism, the most prominent art movement of the early 20th century. The paper discusses early influences on the development of cubism, including Paul Cezanne, Georges Braque and Pablo Picasso. Next, the paper studies analytic cubism and critiques some of the style's most well-known paintings and sculptures. The paper concludes with an investigation of the passing of cubism and its legacy on the art world.
From the Paper
"Cubism is the most influential art movement to emerge in the first quarter of the Twentieth Century. "It may have said to have begun in 197 with Pablo Picasso's Les Demoiselles d'Avignon. The movement was influenced by archaic and primitive sculpture. Particularly of West Africa." (Alexander, p. 288) Another influence was Paul Cezanne, whose works were exhibited in Paris in 1905 and 1907. It was something he said that started some of the other Parisian artists moving toward Cubism. "You must see in nature the cylinder, the sphere, and the cone." He published this in 1907, but the actual term "cubism" may have come from Henri Matisse's phrase: "avec les petits cubes" (with little cubes). He said that in a disparaging way upon seeing some of the works of Georges Braque."
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Paula Scher, 2006.
An examination of the exemplification of Post-Modernism in the art of Paula Scher.
1,191 words (approx. 4.8 pages), 5 sources, MLA, £ 23.95
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Abstract
Post-Modernism claims that representations are representations of representations and so on ad infinitum and that words have a non-symbolic status. This paper attempts to show how this linguistic aspect of Post-Modernism is crucial to Paula Scher's works--particularly her paintings of maps, currently on display in an exhibition titled "The Maps" in New York's Maya Stendhal Gallery. It examines how her maps feature loose geographical shapes literally filled with labels and partitioned along political boundaries by color and line.
From the Paper
"The labels on the maps reinforce the question of what the world is. Scher's maps are literally full of place-names, including the usual country and state/province names, as well as the names of cities, islands, rivers, and so on. Even the Bermuda Triangle is afforded a label in "World." When "World" is considered in conjunction with more localized maps, from "Africa" to "Manhattan," it becomes apparent that the world has been partitioned off into nameable sections like countries, and then further partitioned down to, as in "Manhattan," individual street names. One gets the sense that this theme could be continued on an even more localized basis; perhaps labels could be shown for each room in a building, or each object in a room."
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Painting by Lawren S. Harris, 2006.
An analysis and description of paintings by Lawren S. Harris.
2,076 words (approx. 8.3 pages), 4 sources, MLA, £ 38.95
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Abstract
In this study the author looks at how Lawren Harris divided his time between painting the landscapes of the North Country - and later the Rockies - and the urban landscapes of the working class of Toronto and Halifax. He examines how in these works, Lawren uses bold applications of color and simplicity of form. The author analyzes how Lawren's paintings, as his career progressed, became studies in form and color until the time he moved into non-objective compositions. Thesis Statement The Initial Group of 7 North Shore, Lake Superior The Medium and Materials of North Shore, Lake Superior Contrasts of North Shore, Lake Superior With Other Work Harris' Impact on Canadian Art
From the Paper
"World War I interrupted the forward progress of the group as all were called into military service. Following the war and back in Toronto the group and particularly Harris made several sketching trips to the vast Algoma region of northern Ontario. It was here that Harris found the inspiration for some of his greatest paintings. Algoma was still a wilderness where traveling was difficult. "
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Impressionism, 2006.
A look at impressionism in photography and how it has transferred into other media.
3,125 words (approx. 12.5 pages), 5 sources, APA, £ 52.95
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Abstract
In its relatively short history, photography has grown into a legitimate art form from its early days as the scientifically innovative nineteenth century daguerreotype. We usually think of impressionism as a movement within the world of painting; however, the movement transcended media boundaries to serve as a complete reaction against and outgrowth of the romanticism of the nineteenth century. This paper explores impressionism in photography and subsequently compares this movement with impressionism in other media.
From the Paper
"The Impressionist movement in photography, though not as extensive or as well known as that in painting and music, certainly occurred at about the same time the movement was revolutionizing other media. Rather than aiming for sharp photographs, the Impressionist photographers wished for softer, more 'natural' photographs, often using rough surfaced paper and a soft focus technique. In May 1874, a group of Impressionist photographers gathered at the studio belonging to photographer Nadar to exhibit their works. Among these photographers were Cezanne and Gauguin, both better known for their paintings."
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An Analysis of Nelson Goodman?s Theory of Depiction, 2006.
This paper explores Nelson Goodman's theory of depiction in relation to art and the expression of emotions.
2,900 words (approx. 11.6 pages), 8 sources, MLA, £ 49.95
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Abstract
This paper probes Goodman's theory of depiction which is a form of metaphorical exemplification which the philosopher also calls expression. This well-researched and detailed paper examines Goodman's system of determining the relationship between work and emotion which applies broadly to the arts. This paper also focuses on Goodman's approach to nominalism as an ontological position about the existential status of abstract objects as well as his aesthetic program that advances a belief in the intellectual nature of art.
From the Paper
"For Goodman, the nominalist, there is no chance of inherent essence of a label, and so the only explanation for the interplay in a re-assignment involved in metaphor are rules of association which govern the behavior of labels. A sort of conventional nominalism chalks these rules up to "practice," while a stipulative nominalism would determine that the rules are handed down by an unknown source. In any case, the rules are ordered by the conditions in which the label is applied. For example, when confronted with a painting, a decision is made to apply the predicate "inspiring" to the object in question."
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Goya and his Paintings, 2006.
An examination of 18 century painter Francisco Jose de Goya y Lucientes, otherwise known as Goya.
1,890 words (approx. 7.6 pages), 3 sources, MLA, £ 35.95
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Abstract
This paper examines the life and works of 18th century painter, Goya. It explains that in his youth, Goya was apprenticed by Francisco Bayeu and also motivated by the styles of Rembrandt and Velazquez as their techniques are present in Goya's work. The paper examines some of Goya's works and discusses how these styles are representative in his paintings.
From the Paper
"Despite his success as a painter, Goya's life and style were changed after an infirmity in 1793 left Goya deaf, imbibing him with new cynicism and bitterness. As a result, his post-infirmity paintings wee executed with painful honesty, eventually turning to tragedy and bizarre horrors. Throughout the rest of his life, Goya continued to paint, although he left Spain for Bordeaux, France, in 1824. With the final period of his life spent painting lithographs of scenes of bullfights, Goya died on 16 April 1826, leaving "no immediate successor" (8). Goya has influenced such diverse painters as Picasso and the modernists, and this paper shall analyze four of his works, taken from diverse periods of his artistry."
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Edward S. Curtis and "Coming to Light", 2006.
An analysis of the work of American photographer Edward S. Curtis and the film by Anne Makepeace, "Coming to Light", which depicts the life of Curtis.
1,401 words (approx. 5.6 pages), 2 sources, MLA, £ 27.95
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Abstract
This paper explores the parallels that can be drawn between various aspects of the film "Coming to Light" and the work of photographer Edward S. Curtis, the subject of the film. By exploring these parallels, the paper then highlights what is both positive and negative about the film.
From the Paper
"The 84-minute long film depicts the life of Edward S. Curtis (1868-1952), who took it upon himself to preserve traditional American Indian cultures by means of photographic art. It was during 1900 when he attended a Piegan Sundance, that the photographer was so moved that he made the preservation of the cultures of the various tribes of North American Indians his life's work. As he believed that the Sundance was to be the last the he would see, he was inspired to use photography to preserve what he could of the beauty of the culture. Thus, with around 10,000 recordings, 40,000 photographs and one full length ethnographic film about his subjects, Curtis became the most famous of his time. However, with the Great Depression in the 1930's people's interest in Indian culture wavered and Curtis eventually died in poverty, nearly forgotten. His work did however survive and was rediscovered during the 1970's. It is from this material, and the help of both Native Americans and Curtis's family members, that Anne Makepeace was able to create her remarkable film."
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The Photographer as Artist and the Artist as Photographer, 2006.
A summary of the influences of photographers on art and art on photographers.
3,816 words (approx. 15.3 pages), 10 sources, MLA, £ 61.95
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Abstract
In this report the author examines the photographer as an artist and what he can contribute to natural art. From the other point of view the author also examines how art has influenced photography. He cites many opinions of famous artists and photographers. The conclusion of the paper clearly communicates that in society today art and photography cannot be considered mutually exclusive.
From the Paper
"Limitations in photographic technology determined the imagery left from the Civil War. Because exposure took several seconds, Brady heavily favored images that didn't move. For example, full regiments in formation often held still for the camera. Additionally, the gruesome aftermath of battles constituted the other predominant category of Civil War photos. For a country that had been reared on the adventure and glories of war portrayed in paintings, the overall impression of this rupture in the American psyche was depressingly grim, drab and nauseating."
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"Invention of the Monsters", 2006.
An analysis of Salvador Dali's painting "Invention of the Monsters".
1,378 words (approx. 5.5 pages), 5 sources, MLA, £ 27.95
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Abstract
The paper states that this painting is a typical work of Salvador Dali's and that his personality is present in this work. The paper discusses that the painting is a combination of symbolism and paranoia. The writer posits that the focus of the painting is the burning giraffe, even though it is painted in the background. The writer suggests many interpretations for the painting, then posits that it is unimportant as the painting is not realistic, and can therefore be interpreted however the viewer wants to. In conclusion, the writer states that the painting is fascinating and ugly at the same time and that surrealism fails if it needs to explain itself.
From the Paper
"Now, to more closely examine the ghouls in the foreground, sitting at what looks like a banquet table containing only a little statuette. Is it the Christ figure? Some saint being tortured? What makes trying to make sense out of a surrealist painting so difficult is that the artist has a conception he does not want to share with those seeing the paining, once it is out of his mind and on canvas. The whole meaning of surrealism is that it is above and beyond realism. A cat is not necessarily a cat, a cloud not necessarily a cloud, except in the perception of the viewer. Those who look at surrealist works have to bring something with them: either an open mind, or a pre-conceived idea of what one is looking for."
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Fashion in Italy, 2006.
A study of the Italian fashion industry.
3,650 words (approx. 14.6 pages), 6 sources, MLA, £ 59.95
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Abstract
This paper studies the fashion industry in Italy. The paper looks at the factors that have contributed to its development -- from geography and topography to politics and culture. The paper also examines attempts by the Italian government to support and encourage growth in the industry, such as loosening tax burdens and other bureaucratic controls.
From the Paper
"The textile and fashion industry in Italy is exclusive, dynamic and novel and is the best in the entire world. The constant innovation in this field causes for it to have an edge over the fashion industry in the rest of the world. The fashion industry in Italy focuses on putting forth original and distinctive products that enable the customer to feel that he has acquired his best. To meet the demand of the industry, the companies improve the technical performance in terms of fibers, yarns, fabrics, and finishing. To succeed in the market it is essential that these organizations work on every inch throughout the way from the first process, the fibers to the fabrics, and then the finishing touches to see to it that the final product for the market meets the best demand of the customer."
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"In an African Setting", 2006.
A review of the painting "In an African Setting" by Aaron Douglas.
750 words (approx. 3.0 pages), 6 sources, APA, £ 15.95
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Abstract
This paper studies the painting "In an African Setting", by Aaron Douglas. As the paper explains, through the Public Works Act, African-American artist Aaron Douglas was commissioned by the Harlem Branch of the New York Public Library to compose works on African-American history. The paper studies the piece's form, technique and symbolic significance.
From the Paper
"In this particular work, Douglas' use of sharp edges and repetitive designs was greatly influenced by African sculptures, jazz music, dance and geometric forms. "In An African Setting", was in fact part of a larger collection. The work was a four panel series that was used to communicate the distance that the African American had traveled, from freedom in Africa, to slavery in the United States, to the challenges of freedom after the Civil War. The first panel, and most famous, depicts an African man and woman dancing to the beat of drums."
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?The Ancestors of Teha?amana?, 2006.
An analysis of the painting "The Ancestors of Teha'amana", painted by Paul Gaugin in 1893, with reference to its symbolism and setting.
1,743 words (approx. 7.0 pages), 4 sources, MLA, £ 32.95
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Abstract
The writer evaluates the painting and discusses its expressive content. The paper notes that Teha'mana was a young Tahitian girl whom Paul Gaugin had taken as his bride. It explains that Gaugin left her and their baby in the year the portrait was painted. The writer explains that Gaugin seemed to relate to Teha'mana as a possession, painting her without emotion. The paper discusses the use of Tahiti as a setting for Gaugin to paint in. The writer discusses Gaugin's art in the light of other art of the same period. In conclusion, while the paper states that Gaugin should be praised for using techniques that were bold and revolutionary and that he shattered age-old concepts of painting Tahitian subjects from a European perspective, he should also be castigated for doing so at the expense of human emotions, with regard to the women in his life.
Table of Contents:
Evaluation of Expressive Content
Historic and Stylistic Context
In Conclusion
Works Cited
From the Paper
"For Gauguin, Teha'amana fit nicely into this perceived notion. After all, Gauguin wanted to blend into the culture of Tahiti, and in his mind, this was an effective way of blending. Teha'amana would simply be added to his collection of "trophies," much like his collection of art. She would function as a subject for his works, until he was ready to make her a casualty of his drive to become rich and famous.
"Indeed, Teha'amana ultimately became a casualty of Gauguin's ferocious egotism when he left Tahiti and returned to France in 1893 - the same year that he painted this portrait. Teha'amana bore him a child, but he abandoned both of them upon his return to France. Is it any wonder that Teha'amana looks expressionless in the portrait? Perhaps she was aware of what was to come to pass.
"Marc S. Gerstein offers support for this interpretation in describing a similar painting of Teha'amana, entitled "Faaturuma": "As so often in Gauguin's Tahiti, he suggests muted undertones of sadness, disquiet and dissolution resonating beneath the luxuriant surface of his mystical paradise." (Impressionism: Selections From Five American Museums 80). "The small painting on the wall acts, at one level, to enhance this emotional atmosphere."
"Through its placement next to the subject's head, this image of a typical Tahitian dwelling becomes like an object of her veiled thoughts, evoking vague feelings of longing, loneliness and dislocation.""
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