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American Decorative Arts, 2006.
A history of the interest in Orientalism in America and its influence on the decorative arts.
2,464 words (approx. 9.9 pages), 10 sources, MLA, £ 53.95
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Abstract
This paper begins with a look at what sparked the great interest in Orientalism beginning with the 19th century and continuing until the 1930s. The paper also describes the influence that Orientalism had on American tastes in decorative arts and explains that this interest in Orientalism was no doubt encouraged by the opening of the Suez Canal which had the effect of providing artists with abundant and seductive new motifs for their work.
From the Paper
"Although Bonaparte had had the idea years earlier, it was in 1854 that the French diplomat, Ferdinand de Lesseps persuaded the Viceroy Said of Egypt to grant him the concession to cut a 100-mile long canal across the isthmus of the Suez. DeLesseps had cultivated the Viceroy Said even when the Viceroy was a young man and De Lesseps was the French ambassador to the Egyptian court" (African Business 2003, p. 64). "The creation of the Suez Canal captured the imagination of people around the world, and its opening in 1869 was a party to end all parties. As the champagne flowed, it was hailed as a symbol of progress that would serve to unite the world. You might even call it one of the first adventures in globalization-an infrastructure project designed to strengthen links between Europe, East Africa, the Middle East and the Orient" (African Business 2003, p. 64). In hindsight, of course, it did not work out as the great peace- and commerce-maker some may have had in mind."
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Art Business, 2005.
A SWOT analysis of a business specializing in art dealings.
1,089 words (approx. 4.4 pages), 1 source, MLA, £ 26.95
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Abstract
This paper examines the market position of an art dealer specializing in Old Masters' paintings. It presents a SWOT analysis of the business and provides recommendations for the future of the business.
Paper Outline:
Situation Overview
Strengths
Weaknesses
Opportunities
Threats
Recommendations
Bibliography
From the Paper
"There are three primary weaknesses that Janet must address, that affect her business. The first is the fact that she does not have a consistent presence in America. Most of Janet's clientele are either American or European, and currently she only builds on this American market segment by attending one to two shows each year in the United States. Which brings to light Janet's second weakness, the lack of marketing efforts she utilizes, other than the few art fairs she attends, gallery location for street traffic and word of mouth."
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The Price of Art, 2005.
Examines several factors which determine the price of art in contemporary society.
2,178 words (approx. 8.7 pages), 3 sources, APA, £ 48.95
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Abstract
There are almost as many ways to argue that the price of a work of art does not necessarily reflect its aesthetic value, as there are artists and buyers, market forces and market constraints. Having said that, however, the paper shows that there are also significant and variable forces determining the prices of art; a short listing of just some of these and their probable effects in this paper make it clear that there can almost never, in fact, be a perfect marriage between a work of art and its price.
Paper Outline:
Introduction
The Arab Factor
The Propaganda Factor
Post-, post-, post -modernism and the Price Point
Two Paths to Price/Aesthetic Disparity
Conclusion
Works Cited
From the Paper
"Whether the government was attempting to prevent the item from leaving the country, the entire event-from the Sheikh's purchase and subsequent hoarding, to the government's art/antiquities market manipulation via legalistic means, at best, certainly would indicate that the price of this object, at least, can have little to do with its aesthetic value, but speaks more to national pride and pride of ownership. (One has not even considered either the ethics of the government in seeking to use its power in the art/antiquities market in this way, or of the Sheikh for using his own trump card-the ability to warehouse such pricey objects with no discernible harm to him.)"
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An Interview with Norman Rockwell, 2006.
A creative writing paper written as though it were an actual interview with famous American artist Norman Rockwell.
1,458 words (approx. 5.8 pages), 6 sources, MLA, £ 34.95
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Abstract
This paper depicts a fictional interview with Norman Rockwell, with the theme of his paintings, depictions of life experiences, and personality as the subject matter of the interview transcript.
From the Paper
"In an interview with Norman Rockwell, I first asked him to give me a very brief overview of his life and how he decided to begin painting. He stated that he was born in New York City, and transferred from high school at the age of 16 to the Chase Art School. H said he then went on to the National Academy of Design, and finally, to the Art Students League, where he was taught by Thomas Fogerty and George Bridgeman. Norman stated that as a student, he was given smaller, less important jobs, but his major breakthrough came in 1912 with his first book illustration for C.H. Claudy's Tell Me Why: Stories about Mother Nature.
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The Alamo and Michelangelo, 2006.
This paper analyzes the architecture of The Alamo in San Antonio, Texas from Michelangelo's point of view.
1,458 words (approx. 5.8 pages), 5 sources, MLA, £ 34.95
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Abstract
This paper critiques the building from the point of view of architect Michelangelo who is totally unrelated to the building's design. Written in the first person speech given by Michelangelo, he critiques the building according to his own architectural values and beliefs.
From the Paper
"Perhaps the thing that perplexes me most about this building is the scale. Walking up to it, it simply seems so small, much smaller than most people would imagine, I believe. It is dwarfed by many of the modern surrounding buildings, which adds to its diminutive status. I believe a building should be grand and impressive, and unfortunately, the Alamo is unassuming and could easily be overlooked. If I had a hand in renovation, I would add a grander fa?ade, perhaps less symmetrical but with more interesting and relevant details, such as more columns, and certainly a balustrade accessible for tourists to ascend to and view the surrounding plaza. I may seem too critical of what is obviously a very important American historical landmark. However, the building is not nearly as impressive as its' history to me, and I think it could be made much more memorable by adding a bit more style, color, and interest. I understand the phrase here in Texas is "Remember the Alamo." I however, will not carry its memory with me for long, as I feel it suffers from architectural apathy, rather than a real joyous interest in creating a unique and valuable monument to God - and to the architect who had a vision for detail and design."
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Edward Steichen, 2006.
An analysis of the life, times and art of the photographer Edward Steichen.
1,144 words (approx. 4.6 pages), 10 sources, MLA, £ 28.95
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Abstract
This paper examines how Edward Steichen engaged in photographic psychological exploration and how he constantly stretched what was once construed as a purely reproductive or at best journalistic form of media to where it had never been stretched before. It looks at how over the course of a long career that spanned nearly a century, Steichen's portraits encompassed a diverse and illustrious cast of characters, ranging from Richard Strauss to J. P. Morgan, Maurice Maeterlinck to George Bernard Shaw.
From the Paper
"The hazy, opaque quality of the Swanson reproduction is characteristic of much of Steichen's photography, as well as the photo's merging of the popular art of cinema and photography with techniques often found in European high art. Steichen was born in Europe, to European parents, but his family emigrated from Luxembourg, to the United States in 1882. Steichen became interested in photography when he was sixteen, just at the turn of the new century. ("Edward Steichen," Getty Museum, 2004) Steichen's most formative years as a developing artist came during his service in World War I, where he organized an aerial photography unit for the United States Army. "
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Impressionism, 2006.
An overview of the Impressionist movement, its history, its artists and its influences.
1,508 words (approx. 6.0 pages), 5 sources, MLA, £ 35.95
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Abstract
This paper briefly describes the origins of the Impressionist movement, the artists that best represent the Impressionism movement and how the movement, in essence, sought to create the illusion of forms bathed in light and atmosphere.
From the Paper
"Although the term "Impressionism" was first used in 1874 by a journalist ridiculing a landscape by Monet, the bitter controversy that raged for twenty years over the merits of Impressionism actually began eleven years earlier in 1863 at the Salon des Refuses, an exhibition held to accommodate the exceptionally numerous works rejected by the jury for the salon that year. It was here that Manet shocked the viewing public with his Dejeuner sur l'Herbe which helped to withdraw the curtain of classical illusion and brought the nude up-to-date. This form of "Impressionism" set the artistic stage for many years to come and influenced an entire generation of painters well into the 20th century. "
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Art in America, 2006.
An analysis of the influence of the Cruxshadows' song "Telemetry of a Fallen Angel" on the digital art of Mandem.
1,532 words (approx. 6.1 pages), 4 sources, MLA, £ 35.95
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Abstract
This paper examines how inspired by the Cruxshadows' work, digital artist Mandem completed a series of images based on the story of the "Angel IV", which was eventually incorporated into the tenth anniversary edition of their CD. It looks at how this work was not only influenced by "Telemetry of a Fallen Angel," but how it also gives greater insight into the meaning of the album and the Cruxshadows mythology. Some of the elements used in Mandem's visual work that draw from, or contribute to, the "Angel IV" cycle are also discussed.
From the Paper
"This organic dream-self of the Angel IV is presented in Mandem's work in several incarnations, and there is a deep significance in the representation of the Angel as both male and female. The first image of the Angel, with destroyed mechanical Icarus wings, is presented as male, however the second image, whose wings are made of clouds and moths, is female. In the distance of the female moth angel, a point of light meant to represent the male Icarus angel can be seen falling from the sky. As the male angel (knowledge) is broken apart, the female angel (emotion) can exist fully. This Jungian representation of the dichotomy between the male and female angel exists throughout Rogue's work. "
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Japanese and African Art, 2005.
An examination of how Japanese and African art have impacted Western art.
1,054 words (approx. 4.2 pages), 3 sources, MLA, £ 26.95
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Abstract
This paper explains that as explorers and empire builders brought back tales of exotic places, they also carried back with them artifacts and works of art from these "newly discovered" cultures and civilizations. The writer notes that as Western artists began to examine the artistic productions of different peoples - in particular the Japanese and the Africans - they discovered that strict realism and classical design were not the only possibilities. The flood of Japanese prints and African carvings and bronzes that reached Europe and America were to herald the beginning of a whole new era in Western art.
From the Paper
"Japanese prints inspired Western artists, such as Gaugin and Monet, to adopt the angular perspective of the Japanese masters. The picture plane became a set of intersecting planes positioned at different heights along the painting. This was a clear rejection of the traditional "scientific" methods of perspective representations that had been in use in Europe for hundreds of years. As well, European artists began to experiment with the bold color palettes of ukiyo-e. In the works of Toulouse-Kautrec, too, the influence of the Japanese woodblock artists can be powerfully scene. Toulouse-Lautrec's colors, perspective, and even subject matter owe a profound debt to these new influences. In fact, it could be said that Toulouse-Lautrec's lithographs represented a European interpretation of long-established Japanese genre. Much as the great ukiyo-e artists portrayed the "demimonde" of Tokugawa Japan, so too were these same actresses, prostitutes, and assorted habitues of the Paris underworld portrayed by Toulouse-Lautrec."
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The Impressionist Artists, 2005.
A discussion on the French impressionist artists of the late nineteenth century.
1,090 words (approx. 4.4 pages), 4 sources, MLA, £ 27.95
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Abstract
This paper examines how the main theme of the impressionist artists was the reflection of personal impression on canvas. The author reviews the work of impressionists Claudet Monet, Edgar Degas, Auguste Renoir, Alfred Sisley, Camille Pissaro and Berthe Morrisot. It concludes that the contribution of Impressionists is invaluable because they set new standards of fine art, which gave birth to other categories of art such as post-impressionism, symbolism, primitivism and modern.
From the Paper
"The father of the Impressionist movement is considered to be Claudet Monet (1840-1926), French painter of the late nineteenth century, who developed new technique when painting French landscapes on open-air. Monet came to the conclusion that a painting "made on the open air, has a unique freshness and liveliness, which is unable to be achieved when working in the workshop", where the theme is preplanned. According to Monet, painter had to change the way he perceives reality by fragmenting it into naive and primitive images, which formed the core of the aesthetic impression. Monet set a new task to the art, to reflect a momentary impression, to picture every moment and every element of objects motion in order to make painting alive."
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Art in Axis Countries, 2005.
Describes the differences between pre-War and post-War Axis art.
1,330 words (approx. 5.3 pages), 3 sources, APA, £ 31.95
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Abstract
This paper explains that art in pre-War and post-War European Axis countries, in particular Germany, was diametrically different. These differences were largely a result of societal conditions. The paper also explains that pre-War art primarily took the form of propaganda and craft but that after the war, with the exception of Russian art, the art of the Axis countries changed as a result of the influence exerted over them by the west and their own desire to rejoin the brotherhood of nations.
From the Paper
"The figures in the art, whether supposedly gallery art or poster-propaganda art, were supposed to be admirable 'native' figures of whichever nation was producing the art. The style was supposed to relate, also, to previous artworks, although, "In Soviet Russia, however, the whole notion of the 'aesthetic' was rejected as a bourgeois anachronism and was gradually replaced by the evolving theoretical criteria of Socialist Realism." Images of these works come readily to the mind's eye; almost cartoon like, oversized, over muscled figures in plain clothing operating large machines, for instance. "Triumphant was the Holy Trinity of peasant, worker and warrior. And from the very summit of this blasphemous altarpiece shone down the spirit from which all power was derived: the quasi-divine presence of the Leader himself" (Elliott, 1995), at least in Germany."
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Modern Artists, 2005.
This paper discusses the lives and works of Pablo Picasso, Henri Matisse and Diego Rivera, all masters but from different backgrounds and different training, who may have been influenced by one another.
2,520 words (approx. 10.1 pages), 9 sources, MLA, £ 54.95
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Abstract
This paper explains that Spaniard Pablo Picasso was basically a painter who extended his art to sculptures in ceramic and bronze; in the early 1900s, he created the visual style of Cubism, which concentrated on the two dimensional surface of pictures and did not honor the old techniques of perspective, foreshortening, modeling and chiaroscuro. The author points out that Frenchman Henri Matisse's "Large Red Interior" (1948), a painting of his studio, is a dynamic painting with an excellent relationship between line and color and probably his last statement on his life as an easel painter. The paper relates that the art of Mexican muralist Diego Rivera reflects the Mexican Civil War and the struggles of World War I; in France for 14 years, Rivera studied the works of Matisse, Paul Gauguin and Paul Cezanne and similar artists.
From the Paper
"Now let us look at the education of the three masters, and Picasso attended many art schools during his childhood as his father taught there. He did not finish his course at any college and left his course in less than a year from the Royal Academy of San Fernando in Madrid. Whereas Picasso was a Spaniard, Henri Matisse was born in France in 1869 at Cateau-Cambresis. His father was a seed merchant and Matisse did not get in touch with art in his early years. He decided to study law and gave up only when he was sick and took up arts as he had started painting during the period of his sickness. After changing colleges he finally enrolled at Ecole des Beaux. Even there he could not complete his course due to differences with the teachers."
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Edward Henry Potthast, 2005.
An examination of the life and works of artist Edward Henry Potthast.
2,258 words (approx. 9.0 pages), 3 sources, APA, £ 49.95
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Abstract
This paper begins with a biography of artist Edward Henry Potthast. The paper then examines three of his paintings: "In the Park," "Children at the Sea Shore," and "Afternoon Fun." These paintings are compared as examples of his varying style. The paper explains that they all have the same theme which are presented in different ways.
From the Paper
"It seems that Potthast was trying to convey this message when he painted so many pictures with happy, joyful, and carefree themes. It is likely that he felt this way, likely that he wanted others to feel this way, and also very likely that he saw in this carefree joy some of the beauty that belongs to humanity. He likely saw how important this beauty and humanity was and therefore wanted to ensure that others were able to see it as well. If they could not capture it for themselves or were not aware of how significant it was, perhaps they would see it in his paintings and find joy in that."
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Baroque Art, 2004.
An analysis of Baroque art, including a comparison between Peter Paul Rubens and Caravaggio.
1,131 words (approx. 4.5 pages), 4 sources, MLA, £ 28.95
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Abstract
This paper discusses the Baroque style of art that came about following the Renaissance period. The paper examines the artistic styles that made this period so unique. The paper introduces one of the most talented and gifted painters in Italy during this time, Michelangelo de Meris, also known as Caravaggio. The paper describes one of his most famous paintings, "The Madonna of Loreto" that reveals the true nature of the Baroque period. The paper also discusses the brilliant Flemish master Peter Paul Rubens who shared with his counterparts in Italy the desire to develop and spread the Baroque style.
Outline
Introduction
Caravaggio
The Madonna of Loreto
Peter Paul Rubens
The Journey of Marie de Medici
Helen Fourment and Her Children
From the Paper
"The artistic period known as the Renaissance continued without any sharp stylistic changes well into the 17th and 18th centuries; however, the art of this later period is often called Baroque, although there is no single Baroque style or set of stylistic ideals. Yet within the last one hundred years or so, Baroque has taken on the overall designation for the art of the period from circa 1600 to 1750. More recently, scholars have come to understand that Baroque styles were very different from those linked to the Renaissance. For example, during the Renaissance, art tended to be rather static, but during the Baroque, art became very dynamic and encompassed passion, opulence, a taste for the theatrical and introduced the virtuoso, being an artist that stood out from his contemporaries as a truly gifted genius."
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