| Papers [449-462] of 1926 :: [Page 33 of 138] | | Go to page : <— 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 —> | |
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Joseph Stella?s ?Old Brooklyn Bridge?.
This paper discusses, based on John Berger?s book, ?Ways of Seeing?, the experience of seeing Joseph Stella?s painting, ?Old Brooklyn Bridge?.
2,020 words (approx. 8.1 pages), 0 sources, £ 45.95
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Abstract
The paper explains that the ?Old Brooklyn Bridge? is positively aglow with color and light; the painting is alive and active, its linear composition is stellar, and the palate reminiscent of the industrial age in which it was born. The author points out that she sees the painting with increasing awareness and a deeper understanding of the artist?s intent, now understanding, in Berger?s words, that art becomes "a record of how X had seen Y.? The paper reveals that the clearest structure the author could discern in the background was a strategically placed depiction of the bridge?s recognizable towers.
From the Paper
"Reflecting further on Berger?s ?Ways of Seeing,? I recalled his section on perspective. One of the most remarkable aspects of Stella?s painting is its linear perspective. The lines representing the suspension cables of the bridge converge in space. The most notable conversion occurs at the very top of the canvas, where at least two of these beams intersect. Had I not known they were suspension cables I might have thought they were beams of light or just abstract lines. Yet although Stella approaches an abstract rendition of the Brooklyn Bridge, this painting is not what I would call abstract."
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Zwelethu Mthethwa, 2005.
A discussion of South African photography artist, Zwelethu Mthethwa.
1,102 words (approx. 4.4 pages), 6 sources, MLA, £ 27.95
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Abstract
This paper provides a brief biography of Zwelethu Mthethwa, explaining that he considers painting and photography to be equally important and is continually transferring notions from one field to the other. It discusses major characteristics of some of his famous works.
From the Paper
"In an article for ?African Arts? Kristina Van Dyke described Mthethwa?s work as portraits that ?do not aim to characterize their subjects as victims but rather as individuals who make creative choices that result in unique domestic spaces? (Van Dyke Pp). Jed Perl writes of Regarding Mthethwa?s ?Flex? which was shown in the first International Center of Photogrpahy?s ?Strangers? exhibition, Jed Perl writes that this series of black and white ?close-ups of African men?has a boldness that recalls avant-garde silent films? (Perl Pp). Sarah Caylor writes that ?much of the meaning lies in the intense examination of the physical specifics of clothes and settings, as well as physical and spatial relationships? (Caylor Pp)."
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The Etruscans, 2004.
A brief analysis of the arts and craft of the Etruscans.
717 words (approx. 2.9 pages), 4 sources, MLA, £ 18.95
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Abstract
This paper discusses the sculptures done by the Etruscans in ancient history. The paper presents the sculpture, "Etruscan warrior supporting a wounded comrade", from the early 5th century BCE, describing the era when it was created. The paper compares this sculpture to "Augustus in Armor", another sculpture created in 20 BCE. The paper illustrates the differences in these two sculptures according to the time period that they were created.
From the Paper
"While we think of the Etruscans as a monolithic group, in fact, they covered a wide geographic area with a civilization that spans many centuries from a millennium BCE to their putative dissolution a couple of decades BCE (Time International, 2001). The sculpture Etruscan warrior supporting a wounded comrade, from the early fifth century BCE, was created in about the middle of the Etruscan era. At the time this sculpture was created, the Etruscans had begun exploring the coast of what is now known as the Italian peninsula. The Etruscans enjoyed dominion on the seas at the time, giving them ?tremendous potential for trade as well as piracy? (Time International, 2001). It is obvious from the embellishment on the clothing of the two warriors that the Etruscans enjoyed their sea-based wealth. It is also easy to believe, as Time (2001) contends, that the Etruscans were a more jovial people than were the Romans who supplanted them; despite the obviously unpleasant fact of the warrior being wounded, neither face is particularly anguished, and, indeed, the wound is probably not all that grave."
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Apocalypse Art and Technology, 2004.
Examines a modern form of art called "apocalypse" and shows how it is linked to modern technology.
3,500 words (approx. 14.0 pages), 30 sources, APA, £ 70.95
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Abstract
This paper examines modern art, in particular ,that which is referred to as ?apocalypse art? and examines the interactions between art and technology. Specifically, paper looks at the new dimensions that technology has contributed to the rendering of art as well as what contribution or impact that art has rendered to technology. The methodology for this study is examination of several artists and scholars who are in some way interconnected in this process of producing apocalypse art. Artists discussed include Joe-Peter Witkin, Roy Ascott, and Dinos and Jake Chapman.
From the Paper
"The social impact of the new art-technology relationship is quite simply due to knowledge being more plentiful than at any other time in recorded history. To further expand on that element it must be understood that the application of knowledge, as well as man?s integration with knowledge, has not at any time in history been so cohesive with each other. This is due to the global society now established in the world which is aided by the science of computing which brings all knowledge, all applications and all the minds of men together in one vast conglomerate freeway of information."
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Art as a Political Statement, 2005.
A discussion of how it is nearly impossible to separate art from the social and political context in which it originates.
1,286 words (approx. 5.1 pages), 5 sources, MLA, £ 30.95
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Abstract
This paper attempts to demonstrate that both acceptance and defiance of the political arena constitute a form of political statement in terms of art. The paper focuses on the art forms of Expressionism and Fauvism.
From the Paper
"Expressionism began its evolution during the early part of the 20th century. This movement contrasted with impressionism in that it did not aim to reproduce, but rather to impose its views of objects in the world. When taken from a political context then, the political agenda is not always clear, as the artist is attempting to represent his or her own reactions to the world that is perceived, rather than providing an accurate, realistic depiction thereof. The main aim of the impressionists was to find and reach the highest intensity of expression."
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Photo Reportage, 2005.
A discussion on digital photography and how it allows the photographer to distort the image of reality.
1,146 words (approx. 4.6 pages), 2 sources, MLA, £ 28.95
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Abstract
This paper looks at how photojournalists can play a key role in shaping the public's image of reality. Special emphasis is placed on how photojournalists, using advanced digital equipment, can depict a war and, in particular, how they can impact the public's image of the conflict in Iraq. The paper points out that, now more than ever before, the most important issue in photo reportage today is ethics.
From the Paper
"When an unknown aphorist coined the phrase ?A picture is worth a thousand words,? the world was a lot simpler. For certain, digital photography and digital sound were not even figments of most people?s imaginations. Perhaps the odd genius, a Leonardo da Vinci for instance, might have imagined such wonders. But then again, he might well have avoided mentioning it since he was a painter, made his living by daubing charcoal or oils on various papers, boards and canvases."
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American Landscape and Social Attitudes, 2004.
Discusses the history of the relationship between American society and the country's natural environment.
1,600 words (approx. 6.4 pages), 13 sources, MLA, £ 37.95
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Abstract
American attitudes towards nature have undergone a complex change in a relatively short period of time, ranging from attitudes of reverence for nature to a view of nature as handmaiden to the technological development. This paper shows that many environmentalists are of the opinion that America is neglecting the preservation of the environment. The societal attitudes within America are often reflected directly in their attitudes towards nature. However, the attitude towards the natural environment has never been clear-cut, and there has always been a certain amount of ambivalence towards nature. The paper examines how this ambivalence is reflected in the work of artists and writers, such as Jack London.
From the Paper
"A sociological and socio-cultural view sees London?s works as related to the cultural trends, mores, and traits of the time. This can be seen in the well-known story "To Build a Fire", which is often called the ?quintessential? naturalist short story. The reflection of differences and dichotomies in American society can be seen in an analysis of the story. One of the most important themes in the naturalist movement, and also the crux of the novel "To Build a Fire,? is determinism as opposed to free will. Another is the seemingly amoral indifference of nature and the environment, which is coupled with issues of survival and the problem of making moral judgments in an amoral universe. Another aspect is instinct versus the intellect."
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Rodney Graham, 2005.
A look at the work of Canadian film maker and photographer, Rodney Graham.
1,250 words (approx. 5.0 pages), 4 sources, MLA, £ 30.95
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Abstract
This paper examines the theme of identity, or of changing identity, seen throughout Graham's work. The paper examines and analyzes several of Graham's pieces in order to illustrate this continuous theme. The paper explains how Graham's fascination with the permanent instability of the photographic, filmed self reflects his feeling that he never really had a clear vision of who he was as an individual or who he was as an artist.
From the Paper
"Rodney Graham is a Canadian artist, born in Vancouver in 1949. But he could be anyone?or so his art suggests. In Fishing on the Jetty, 2000, the Rodney Graham renders himself into his own text as a filmed subject. In this film/performance art piece, the viewer is witness to the sight of Graham playing Cary Grant in his own nautical version of Alfred Hitchcock?s ?To Catch a Thief.? Graham, within the context of the piece is himself, is the character of Grant, and is also the persona portrayed by ?Cary Grant,? the sublimely artificial romantic lead of the 1930?s classical film in a who-done-it about mistaken identity, a film where the actor portrays a constantly misleading man with a shape-shifting identity."
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The Biography of an Artist, 2004.
An analysis of the importance of biography in the art of Henri Matisse and Pablo Picasso.
2,350 words (approx. 9.4 pages), 8 sources, MLA, £ 51.95
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Abstract
This paper contends that the biographical aspects of an artist provides one of the most important dimensions in the history and study of art and allows one to trace the stylistic development within an artist?s overall career. The paper discusses two specific artists who are generally viewed as masters of their craft, Pablo Picasso and Henri Matisse, both of whom greatly influenced the artistic world in which they lived and continue to do so in the present time.
From the Paper
"Early in life, doubt and dissatisfaction with contemporary artistic formulas enabled Picasso to discover that a search for beauty according to the standards in which he had been brought up was not the aim he wished to pursue. The brilliance of his talent in his youth and the ease with which he absorbed the work of other great contemporary artists could have tempted him to become satisfied with the success that came to him at last after years of poverty in Barcelona and Paris, but the strength of his powers of expression, coupled with an unusual degree of courage, brought a crisis which forced him to abandon the easy road to fame and plunge perilously into new forms of artistic creation."
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Tattoo Removal, 2004.
An analysis of tattooing and the various methods of tattoo removal.
2,145 words (approx. 8.6 pages), 5 sources, MLA, £ 48.95
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Abstract
This paper presents the history of tattooing. The paper describes evidence of tattooing throughout many cultures across the world. The paper explains modern-day tattooing, which is used primarily to denote gang or other group affiliations or just for body decoration. Since both these reasons are subject to changing tastes and circumstances, there has developed a demand for a reliable way to remove tattoos. These methods are explored in the paper.
From the Paper
"The history of tattooing is a long and varied one. ?A tattoo is a permanent mark or design made on the body when pigment is inserted into the dermal layer of the skin through ruptures in the skin's top layer.? (?How Tattoo Removal Works?, 2004). A more recent development in this area, however, is the issue of tattoo removal. Only recently have advances in technology made it possible to effectively remove a tattoo. The process of tattooing, which inserts ink deeply into the layers of the skin, has traditionally made it very difficult to get rid of a tattoo once it's been applied. Modern techniques for tattoo removal include; dermabrasion, salabrasion, excision (surgical removal) and laser removal. There are also less thorough methods for covering a tattoo such as scarification or tattoo modification. Currently, the most favoured method of tattoo removal is laser removal, as it leaves little scarring and is very effective, although multiple laser treatments are often required."
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Michelangelo and Pope Julius II, 2004.
This paper discusses the relationship of Michelangelo and Pope Julius II to demonstrate the nature of Catholic art during the Renaissance period.
1,180 words (approx. 4.7 pages), 2 sources, MLA, £ 28.95
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Abstract
This paper explains that religious art during this period was an intensely social production and vision, a dialogue between religious leaders such as Pope Julius II and artistic producers such as Michelangelo. Popes commissioned artistic works and inspired, guided, and checked the artist?s individual vision. The author points out that Pope Julius II, who was as careful in planning as he was in his military achievements, enriched the landscape of Rome by adding many fine buildings to the city, including the Vatican Museum and art collection and the Sistine Chapel. The paper relates that the role of the artist was expanded rather than limited by the patronage and commissions of the papacy, and rather than embodying narrow religious ideals, Michelangelo and others were prodded to create works with expansive, complex renderings of Biblical figures as both human and divine in nature.
From the Paper
"Pope Julius II, often known as a kind of warrior pope because of his influence in political as well as spiritual affairs, even more renown to the ages for his tireless patronage of the arts. He is also called the savior of the papacy, because of his integrity, relative to his contemporaries, and his restoration of legitimacy to the church because of limiting some of its excesses?excesses, albeit not enough to stifle the Reformation later on. Also, it is unlikely that Julius would have, had he lived after the reformation, been able to commission such anthropomorphic and expansive works of religious art, some of which were designed to commemorate his own personal memories and accomplishments, such as the commissioning of the tomb that first drew Michelangelo to Rome."
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Peter Voulkos, 2005.
Biographical account of American clay sculptor Peter Voulkos who died in 2002.
858 words (approx. 3.4 pages), 4 sources, APA, £ 21.95
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Abstract
This paper provides biographical information on the life and artistic career of Peter Voulkos. The also paper looks at Voulkos's artistic style and explains how it capitalizes on the qualities of the clay itself. Furthermore, the paper describes some of the influences on Voulkos's art, analyzes some of his more famous sculptures, and explains the significance of his work to other sculptors.
From the Paper
"Peter Voulkos, a clay sculpturist who died in 2002, was important because he brought clay forward as an artistic medium in its own right. Until Voulkos demonstrated the art of clay, people tended to think of ?pottery? as either functional ware, a craft, or a tool for ?real? artists such as bronze sculptors. The movement he started came to be known as the American ?clay revolution.? (Chattopadhyay, 2001)"
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Nagapattinam, 2004.
Analyzes the philosophy and image behind this 12th Century statue of Buddha.
955 words (approx. 3.8 pages), 4 sources, APA, £ 23.95
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Abstract
The image, in bronze, of the standing Buddha Nagapattinam from the 12th century belies some of the common popular assumptions about Buddhist iconography that a contemporary Westerner might hold if he or she was unfamiliar with the history of the Buddhist tradition of images in Asiatic art. This paper discusses the Nagapattinam, which depicts not the enlightened Buddha, but a teaching Buddha marked for enlightenment. It examines the philosophy behind the creation of Buddha in this particular image and presents a description of the physical features of this statue.
From the Paper
"According to the scholar Jin Weinu, all ?Buddhist images? however, regardless of origin, usually ?display the thirty-two lakshanas and eighty notable physical characteristics of the Buddha,? as does the 12th century Bronze Nagapattinam statue noted specifically above, at the beginning of this essay. These thirty-two characteristic physical markers indicate that the figure, over the course of its life, sought to ?seek dignity, a singular superb ness, in order to embody all excellences and good fortune and virtue,? over the course of the Buddha?s specific life phase, or this specific Buddhist incarnation over the course of his many lives, even though the image might be of a pre-Enlightened part of the Buddha?s biography. (Weinu, 1999)"
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Rene Magritte, 2005.
A biographical overview of artist, Rene Magritte, and an analysis of his unique and sometimes erotic style.
1,425 words (approx. 5.7 pages), 4 sources, MLA, £ 33.95
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Abstract
This paper briefly provides a biographical analysis of Rene Magritte. It begins by looking at his childhood and education and proceeds to analyze his work. The style and texture used in his paintings are examined and explained. The paper also analyzes some specific paintings, such as ?The Origin of the World,? "The Eternal Facts," "Philosophy in the Boudoir," and "The Ocean".
From the Paper
"Still another very erotic work by Magritte is The Ocean, a black and white painting of a nude man by the seashore, and where there might have been a penis, instead there is an erect tiny nude woman, about the size of an erection that man that big would be expected to have. And yet another provocative erotic work is The titanic days, painted in 1928, showing the main nude body of a strong woman, who is pushing (it seems) a man away from her. The man is only about one-quarter complete, but his hand is on her right thigh, just inches from her public region."
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