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Raphael, Da Vinci and Michelangelo, 2005.
A paper on the master artists of the High Renaissance: Raphael Sanzio, Leonardo Da Vinci and Michelangelo Buonarroti.
1,418 words (approx. 5.7 pages), 3 sources, MLA, £ 26.95
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Abstract
This paper looks at how these masters, by making their figures come alive as if made out of flesh and blood, symbolize the loftiest goals of the High Renaissance. The paper further looks at how the artists created a new artistic profession that exhibited its own rights of expression, its own character and its own claims to greatness within western civilization.
From the Paper
"Within a thirty year span, beginning approximately in 1495, the city of Rome replaced Florence as the Italian seat of artistic pre-eminence. A series of powerful and ambitious popes, most notably Julius II and those associated with the rich and powerful De Medici family run by Cosimo De Medici and later on by Lorenzo De Medici, created a new papal state with Rome as its capitol and artistic center of Europe. These popes embellished Rome with great works of art and invited artists from all over Italy to take on some very challenging tasks. In its duration, the "High Renaissance" (ca. 1492 to 1520) produced works of such authority and magnitude that later generations of artists were forced to imitate it in order to compete with the growing competition within Italy and northern Europe. The various masters of this period had of course inherited the pictorial science of their predecessors, yet they made a distinct break from the past and occupied new and lofty ground that had never been explored before."
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Pablo Picasso, 2005.
Discusses the life and works of this famous 20th century artist.
1,064 words (approx. 4.3 pages), 3 sources, MLA, £ 20.95
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Abstract
Pablo Picasso is noted by the majority of critics as the most important influence on twentieth century art. By the time of his death in 1973, he had created some 22,000 works of art in mediums that included sculpture, ceramics, mosaics, state design and graphic arts. This paper traces the life of Picasso, from his birth in Spain in 1881 through his brilliant art career and his numerous art 'periods'. The paper examines Picasso's influence on art, including cubism and abstract art and looks at several of his important pieces, including "Les Demoiselles d'Avignon" and "Guernica."
From the Paper
"Most critics agree that Picasso's greatest work came from the thirty years between his 1907 "Les Demoiselles d'Avignon" and his 1937 "Guemica," however, he worked consistently through the war years and through the 1950's and frequently produced work during the 1960's and 1970's, producing powerful paintings and prints (Hughes pp). Often his work "would be folded into series of variations on the old masters and nineteenth century painters he needed to measure himself against, such as Velazquez and Goya, or Poussin, Delacroix, Manet and Courbet" (Hughes pp). Especially during his last years, his work possessed a manic and obsessive quality, as if he believed that this might delay his own mortality (Hughes pp)."
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Levi Strauss' "The Savage Mind", 2005.
A critical review of Levi Strauss' "The Savage Mind".
947 words (approx. 3.8 pages), 5 sources, APA, £ 18.95
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Abstract
This paper discusses Levi Strauss's concepts about art as presented in "The Savage Mind" and looks at how Strauss investigates the concept of bricolage. The paper presents a very negative review of Strauss' views and suggests that Strauss' concepts are of no possible use to the artist.
From the Paper
"It is fortunate that Claude Levi-Strauss wrote The Savage Mind in the mid-1960s, with publication in 1966. It is without doubt a work of a pre-holistic age, and as such has relatively little of value to say in a world torn between technology and metaphysics; it should be noted, of course, that technology is, in some ways, merely the tactile expression of metaphysics. Whether, for example, the computer programmer knows she is using theories of quantum physics to perform her task-and whether the 'alternative minister' some levels below Deepak Chopra knows he is doing the same in the affirmations used to access Truth-doesn't matter. It is apparent that in a universe in which string theory is a topic of conversation among the pseudo-scientific intelligentsia, and the proverbially grinding poverty of the increasingly (by comparison) less developed nations is given short shrift by almost everyone (in favor of Entertainment Tonight and its fripperies about hollow people doing hollow things), Levi-Strauss is a fossil."
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Designs, 2004.
An analysis of the influence of Egyptian hieroglyphics and other ancient symbols on 18th, 19th and 20th century designs.
1,726 words (approx. 6.9 pages), 11 sources, MLA, £ 31.95
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Abstract
This paper discusses design issues, specifically the influence of Egyptian hieroglyphics and other ancient symbols on 18th, 19th and 20th century surface pattern design and their influences now on contemporary design. The paper examines the impact on design practice of digital techniques today. The paper presents a discussion of designers from these periods, illustrating their work. Suggestions for critical analysis and an examination of possible philosophical questions are provided in the paper, as they relate to future professional practice. A summary of the research is provided in the conclusion.
Outline
Introduction
Review and Discussion
Background and Overview
Egyptian Hieroglyphics in Design
18th Century - 20th Century Designs Elements
Assessment of Influence on Contemporary Designers
Conclusion
From the Paper
"According to Pile (1979), because alphabetic symbols do not represent true analogs for the sounds they actually represent, alphabets have become arbitrary codes that have no meaning until a user receives instruction; this can be readily discerned by a casual review of the sample Egyptian hieroglyphics in the figures below. In fact, "Once the code meaning is unavailable, it cannot be rediscovered by any logical means. The well-known story of the role of the Rosetta stone in unlocking the mystery of the lost meaning of Egyptian hieroglyphics is a good illustration of this" (Pile 112). The discovery of the meaning of the hieroglyphics was recorded in 1847 by Morrison and Von Schlegel: "For more than a millennium and a half had the hieroglyphics of an ancient race remained unintelligible to and undeciphered by a posterity of aliens, when at last, amid the recent commotions and tempests of the political world, a happy accident brought the secret to light" (55). "
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Realism, 2005.
A look at how the artistic form of Realism emerged as a result of the socio-economic changes brought about by Europe's industrial revolution.
1,147 words (approx. 4.6 pages), 2 sources, MLA, £ 22.95
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Abstract
This paper explains how the poverty and despondency amongst the new working class created by Europe's industrial revolution was expressed in the artistic form of Realism. The paper looks at how Realism sought to correctly portray the conditions and hardships of the poor with the hope of improving their living situations. The paper discusses some of the Realist artists of that era and describes how their works depicted the reality in the cities and countryside.
From the Paper
"To Courbet, Realism was not so much a style of painting as a philosophy. His arguments with the present French art establishment concerned subject matter, not painting technique. Juries and the public shunned the Realists' work, because the art style broke away from the official Academic art. Courbet's paintings, such as the Stone-Breakers of 1849, which featured the laboring, faceless figures of an old man and adolescent boy, was criticized severely by critics who preferred mythological or idealistic subjects."
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Artist Judy Chicago, 2005.
This paper discusses the quintessential feminist artist Judy Chicago and analyzes her "The Dinner Party" .
2,750 words (approx. 11.0 pages), 6 sources, APA, £ 46.95
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Abstract
This paper explains that Judy Chicago applies vulvar representations to her works with the same frequency that penile representations were applied to male statuary from time immemorial; however, Chicago creates female genitalia not to portray realism, as the male genitalia on Greek, Roman, Renaissance or any other heroic statuary, but rather to make a feminist statement. The author describes "The Dinner Party" installation as a triangular banquet table, with each side 48 feet long, sitting on a ceramic floor inscribed with the names of 999 notable women of history, both ancient and modern and at each of the 39 places is a plate, with some version of female genitalia on it and a porcelain chalice. The paper relates that "The Dinner Party" belongs to the genre of conceptual art; Chicago, along with Duchamp and Christo is deemed to be a valuable modern minimalist.
Table of Contents
The Meaning of "The Dinner Party"
"The Dinner Party": Global Derivation
"The Dinner Party": Place in Modern Art
Chicago History
Growing into Her Own
The Art Works (Illustrations)
From the Paper
"The vulvar ornamentation of "The Dinner Party" places Judy Chicago firmly in a long line of sculptors who represented this essential aspect of female-ness across cultures. Sheila-na-gigs "closely resembled the yonic statues of Kali which still appear at the doorways of Hindu temples, where visitors lick a finger and touch the yoni 'for luck.' Some of the older figures have deep holes worn in their yonis from much touching." This also imitates the death goddess Kalika "evidently remembered in Ireland as the Caillech or 'Old Woman,' who was also the Creatress and gave birth to all the races of men." Whether or not Chicago was conversant with the totality of this world-order of female genitalia and its meaning and importance, she conveyed it just as firmly as had the abundant sheila-na-gigs of Ireland."
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Medici Family, 2005.
A discussion of the art patronage of the Medicis during the Baroque period.
2,875 words (approx. 11.5 pages), 8 sources, MLA, £ 48.95
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Abstract
The history of the Medici family in Italy clearly illustrates the difference between a true patron and a collector of fine art. This paper explains that with the collector, new artistic movements are, at times, very difficult to locate, which inevitably leads to the collector amassing works of art based on certain styles and motifs or even specific painters or sculptors from various artistic periods. The writer points out however that with the patron, such as Cosimo I and Lorenzo the Magnificent in the Renaissance and Cosimo III and Cardinal Leopoldo in the Baroque era, the almost in-born desire to vigorously encourage the development and spread of fine art is without competition, for the patron is truly the purveyor of artistic history, at least in western civilization.
From the Paper
"Of course, when the Medici family did finally expire in the mid 18th century, the great artists, such as Michelangelo, Da Vinci, Brunelleschi and Bernini, had also expired and their successors, although very talented and inspirational, did not possess the genius of these men which may help to explain why patronage itself waned after the Baroque era. In addition, it could be said that without the Medici family and its enormous wealth and prestige the Renaissance and Baroque eras might never have existed. Thus, the Medici, along with other prominent art patrons, allowed for the formation of several outstanding art periods which not only helped to create and foster great talent but also made it possible for the common, everyday man or woman to gaze in awe at their works of wonder and contemplate the very nature of their creators and those that supported them without question or authority."
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"Portrait of Dr. Gachet", 2005.
An examination of Vincent Van Gogh's "Portrait of Dr. Gachet."
2,215 words (approx. 8.9 pages), 3 sources, MLA, £ 38.95
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Abstract
This paper examines Van Gogh's painting and explains how the artist impetuously and arbitrarily exploited the new color dimensions of the Post-Impressionist period within the work. The style is examined and the person behind the portrait is explained to be a doctor that looked after van Gogh during the later part of his life.
From the Paper
"As to Van Gogh's painting style which is a very important component of his artistic life, the thickness, shape and direction of his brush strokes created a tactile counterpart to his intense color schemes through thickly-loaded brush moves back and forth or at right angles, giving a textile-like effect; Van Gogh also would take the paint tube and squeeze dots or streaks upon the canvas. This bold, almost slapdash attack upon his canvases, at least in the eyes of his contemporary art critics, was viewed as highly disturbing; thus, it could be said that Van Gogh, through the use of different paint strokes, both infuriated and calmed the viewer."
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19th Century Art History, 2005.
A comparison of two 19th century paintings: Degas' "The Little Fourteen-Year-Old Dancer" and Rodin's "The Martyr."
1,698 words (approx. 6.8 pages), 7 sources, MLA, £ 31.95
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Abstract
An examination of two impressionist artists: Edgar Degas and Auguste Rodin. The paintings are examined for their similarities and differences. The painters' styles are explored and the writer discusses how their techniques were part of the development of impressionist art of the period.
From the Paper
"Rodin, on the other hand, creates not an impression of a feeling, but rather an expression of a concept. Unlike Degas, he pays intense attention to the modeling of musculature, to the exact twisting of the torso, to the squint of an eye or the precise extension and elevation of a tortured leg. While Rodin expresses tough and demanding concepts-it doesn't get much tougher than martyrdom-Degas creates an impression of expectancy, a willingness and readiness to move forward from the slightly uncomfortable position of now to one of greater fulfillment later. This is evident in the posture of the young dancer, and, according to at least some of his biographers, it is also an apt metaphor for Degas' own approach to and feelings about his own work."
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The Beat Generation, 2005.
A discussion of the 'Beat Movement' of the 1950s and how it gave rise to a new counterculture movement.
3,459 words (approx. 13.8 pages), 12 sources, MLA, £ 54.95
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Abstract
This paper explains how the Beat Generation came about, tells how this generation got its name, explains why and in what way it was a counterculture movement that challenged the mechanical existence of the majority and talks about how it effects American society even to this day.
From the Paper
"According to modern mythology, it has been said that the birth of the Beat Generation can be traced back to the year 1944. World War II raged throughout Europe. This was the year of the D-Day landing, and this was the year that the United Nations first came to power, and this was the year that "Lady Chatterly's Lover" by D. H. Lawrence was found to be obscene in the United States, and this was the year in which New York City was flooded by European Surrealists gathering together with American artists and writers, influencing the thoughts and works and direction of the art movements nationwide. This was also the year that Jack Kerouac, Allen Ginsberg, William S. Burroughs, and Herbert Hunckle met in New York City among the artists gathered there, and this meeting around Columbia University and Times Square would lead to the writing of one of the great Beat Generation novels."
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Graphic Design, 2005.
The evolution of graphic design and the influence of the computer and the digital age.
4,551 words (approx. 18.2 pages), 17 sources, APA, £ 66.95
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Abstract
This paper takes a look at the history, development and evolution of graphic design and explains how all of this can best be understood understood in terms of the central function of graphic design - communication.
Introduction
The Evolution of Graphic Design: A Short History.
A Definition
What is the New Media?
The Influence of Computer Technology
The Changing Process.
Typography and Layout
Illustration
The World Wide Web
From the Paper
"Graphic designers often see themselves as essentially communicative artists whose function it is to convey ideas, concepts and information through visual and textual imagery and data using a variety of techniques. It is this central communicative aspect which has enabled graphic designers to cover a wide spectrum of media and mediums and to "work across quite a wide range of fields and with different media: for companies and corporate bodies, in book or magazine publishing, exhibition design, signing and architectural graphics, television graphics, and so on. (Kinross, 1992, p. 73)"
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James McNeill Whistler, 2004.
An analysis of the life and works of artist, James McNeill Whistler.
1,685 words (approx. 6.7 pages), 9 sources, MLA, £ 30.95
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Abstract
This paper provides an overview of James McNeill Whistler's life and works. The paper discusses the function of art according to the artist and presents an analysis of five of his works of art: "Symphony in White, No. 1"; "Harmony in Violet and White"; "Harmony in Violet and Yellow"; "The Lagoon: Nocturne in Blue and Silver" and "Arrangement in Grey and Black, No. 1: The Artist's Mother". A summary of the research is provided in the conclusion.
Outline
Introduction
Review and Discussion
Background and Overview.
The Function of Art according to Whistler.
Analysis and Discussion of Five Works of Art by Whistler.
Symphonies: "Symphony in White, No. 1."
Harmonies: "Harmony in Violet and White" and "Harmony in Violet and Yellow."
"Nocturnes."
Arrangement in Grey and Black No. 1: The Artist's Mother" ("Whistler's Mother").
Conclusion
From the Paper
"James McNeill Whistler was born in 1834 in the industrial town of Lowell, Massachusetts (Julius 1995). The artist's youth and adolescent years were spent in Russia where his father was a civil engineer. Upon his return to the United States, Whistler was nominated for West Point, but his studies were lackluster and he was ultimately dismissed for a "deficiency in chemistry" (Julius 19). In an effort to satisfy his worried mother, Whistler took it upon himself to take his case to the top and visited Jefferson Davis, then Secretary of War, later the Confederate President, in Washington, DC and requested that he either be reinstated to the military academy or else find him a job. As a result, Whistler was assigned to perform coastal survey work as a cartographer where he learned the art of etching that would prove so beneficial to him later in his career (according to Julius, Whistler was acknowledged to be one of the finest etchers since Rembrandt)."
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Still Life Photography, 2005.
Examines the definition of modern still life photography.
4,361 words (approx. 17.4 pages), 11 sources, MLA, £ 64.95
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Abstract
In any era, the term still life means virtually the same thing: "the depiction of objects that lack the capacity for self-governed motion".
In these days of composites, both of subject matter and technique, the term can probably be expanded to include items that are able to move, but for reasons of aesthetics of concept, are treated artistically as if they were inanimate. This thesis applies nowhere better than to still life photography. In considering the ramifications of the term, this paper investigates the forms of western still life leading up to the present-when form and creative media are so often used in ways that were not possible before-to help to define the genre of the contemporary photographic still life.
Paper Outline:
Still Life Photography Today
Still Life Traditions
Paintings, Origins
Photography
Impact of Postmodern Art on Still Life
Impact of New Technologies
Closing Paragraph
Bibliography
From the Paper
"This sort of inclusion opened the way for artists such as Robert Therrien, whose work in the 1990s-a weird wooden table-could also be termed a still life (Herrera, 1997, unpaged). In the same show, a painting by Cezanne depicted a platter of pears tipped onto a different plane than the table and rests on what would be, in normal perspective, air. "The table thus continues one of the great themes of still lifes-echoing previous works" (Herrera, 1997, unpaged). The show itself was called Objects of Desire, and included works by Picasso and Matisse as well as other modern masters, all working in still life, and all working at a time when photography could have paralleled their work and, with its obvious genius for depicting what is rather than what might be, could have overshadowed them."
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Mount Rushmore, 2005.
A brief discussion about why Mount Rushmore is an example of site-specific art.
851 words (approx. 3.4 pages), 1 source, MLA, £ 16.95
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Abstract
This paper explains the concept of site-specific art and proceeds to explain why Mount Rushmore is a perfect example of this concept. It looks at the history of its creation and the impact that it has had on the surrounding area.
From the Paper
"However, Mount Rushmore also changed the environment. When it was begun, there was no road to the cliff face, so one had to be built. Taking six and a half years to complete, in intermittent work between 1927 and 1941, the project employed almost 400 local miners who "built roads, constructed buildings, ran the hoist house, generated power, took measurements, or sharpened thousands of bits for the pneumatic drills. Others set dynamite charges or completed delicate finishing work on the sculpture" (American National Park Network Web site). In short, the creation of Mount Rushmore interacted with the environment in substantial ways; in an environmental sense, it might be thought that these were not always complementary. ON the other hand, if one considers the environment to include cultural and societal components a well as physical, Mount Rushmore was a work of genius for its time. And, while it is regarded as something slightly laughable today, it remains, at the very least, a symbol Americans can mildly ridicule without too much fear of being politically incorrect (the pizza commercial), but one which still inspires awe when the kitsch component is gently shoved aside."
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