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Paul Signac, Pointillism and Anarchism, 2008.
This paper discusses artist Paul Signac, focusing on pointillism and anarchism.
2,030 words (approx. 8.1 pages), 15 sources, MLA, £ 45.95
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Abstract
In this article, the writer notes that in the late nineteenth century, the movement known as Neo-Impressionism was influential in French art circles. The writer points out that one of its most prominent figures was the pointillist, Georges Seurat and that in 1884, as he was developing the pointillist technique for which he is largely remembered, Seurat met Paul Signac. The writer discusses that although their personalities were different, the two collaborated, with Signac regarded as secondary: talented, but overshadowed by a genius. After adopting pointillism at the inspiration of Seurat, Signac refined his technique from the fluid style which drew inspiration from the subject matter, to a controlled and refined art. In addition, the writer notes that Signac was torn between technical craft and the political movements of his day. The writer maintains that in recent years, the art community has re-examined its assessment of Signac, finding that he deserves more than the very secondary position to which he has typically been relegated.
From the Paper
"While Signac accepted this view, Seurat did not adopt the anarchism that many Impressionists including Signac endorsed. In January 1886, Paul Alexis, a journalist and supporter of the writer Emile Zola, launched a subscription fund for the support of striking miners. Like Signac, Seurat had inherited a comfortable setting, and preferred the amenities that it provided. While he wanted more artistic freedom that the traditional ruling Salon would allow, he was not an anarchist. Seurat did not contribute to Alexis' subscription; Signac and Camille Pissarro did."
"Signac was very much aware of the complex of political currents stirring in France. After 1888, he studied the works of Elisee Reclus, Kropotkin and Jean Grave, and eventually fell into the anarchist camp at least philosophically. Despite this, he regarded himself primarily as a painter rather than a political figure, and expressed himself in paint."
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Mondrian and Abstract Art, 2008.
This paper discusses the life of Piet Mondrian and the development of abstract art.
884 words (approx. 3.5 pages), 1 source, MLA, £ 22.95
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Abstract
The paper describes the works and life of Piet Mondrian, the Dutch abstract painter. The paper traces the development of Mandarin's style from the beginning of the 20th century until the 1940s. The paper also shows how Mondrian was one of the pioneers of geometric abstract art.
From the Paper
"Abstract art can trace its origin to the later part of the 19th century when artists began to move away from simply imitating the physical world. Cubist and futurist paintings for example "represent highly abstracted interpretations of the material world" (Arnason, 217). The abstract painters began to use only color, shape and form to explore new artistic expressions. Hence modern abstract art can be called non-representational and non-objective. One of the most important movements in the development of modern abstract art was the De Stijl group in the Netherlands, which began in 1917. The group wanted to create "the art 'for clarity, for certainty, and for order" (Arnason, 231)."
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Art Activism and WWII's Korean Comfort Girls, 2008.
An analysis of how artistic activism is attempting to draw more supporters to the comfort women's cause.
2,042 words (approx. 8.2 pages), 7 sources, MLA, £ 45.95
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Abstract
This paper discusses the ways that artistic activism portrays Korean girls who were sent to serve military brothels of the Imperial Japanese Army (IJA) throughout occupied Asia, during World War II. It discusses how, together with international law, litigation and documentation, artistic activism has attempted to draw more supporters to the comfort women's cause.
Table of Contents:
Introduction
Artistic Activism
Exhibits in North America
Concluding Discussion
From the Paper
"Far work continues to be promised in the future, as more women and other artists take up the cause of the comfort women, making use of their testimony collected in several countries and what are said to be numerous surviving photographs taken shortly after the end of the War or at different times in the surviving comfort women's futures. For viewers not at all interested in imperial Japan's atrocities in Asia or the comfort women in particular, each work discussed in this paper, nonetheless, succeeds in a kind of informal reminder that what we see in the exterior or a person, or in perceptible emotions, can tell very little indeed as to a person's precise life experience. Of the third or so of comfort women to survive their existences of being military prostitutes, each had an horrendous story of devaluation, violence and injuries of all kinds."
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Artemisia Gentileschi's and Art History, 2008.
An examination of the contribution of Artemisia Gentileschi to art history, regardless of her gender.
2,764 words (approx. 11.1 pages), 8 sources, MLA, £ 58.95
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Abstract
This paper examines the intervention of the remarkable woman artist, Artemisia Gentileschi. The paper shows that it is impossible to separate her unique contribution to art, from her material conditions, including her gender. The paper argues at the same time that her intervention to art history must not be reduced to her gender, or overly sexualized, but appreciated for itself.
From the Paper
"It is suggested that this statement should stand as the conclusion to the above attempt to separate art as art in itself from the gendered, biographical and social reality of Artemisia's life. There can be no doubt that Artemisia made a substantial intervention in art history, not least of all by portraying women as active agents, not merely as objects to be watched. There can also be no doubt that it was remarkable that she managed to do this, given the fact that she was female in a society that did not provide to women the material conditions necessary for art to be produces. Moreover, judging from her oeuvre, there can be no doubt that the rape by Tassi had a profound influence on her work, and may in fact account for her status as a proto-feminist. Nevertheless, in assessing her intervention, we must always resist the temptation to reduce our assessment to nothing but a gender-based analysis. To do so would trivialize her by sexualizing her, and would not do justice to her achievements, and to her intervention in art history."
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Venetian Painting in Relation to Local Interests, 2008.
A review of the relationship between culture and the works of various Venetian artists.
925 words (approx. 3.7 pages), 7 sources, MLA, £ 23.95
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Abstract
This paper discusses Venetian painting and artists and their relationship to local interests and human nature. It looks specifically at the works of Lodovico Dolce, who is an author, Pietro Aretino, who is a poet, Paulo Pino, who is a painter and writer and Giorgio Vasari, who is a painter and architect. It describes some of their works and briefly how they were affected by the culture around them.
From the Paper
"Giorgio Vasari saw things differently, again, as is made plain in his The Lives of the Artists (1550) which appeared in a much expanded form in 1568. (Bonadello 1991, Gaunt 1963) Vasari was also a painter and architect, his paintings criticized for their quality of mannerism, in that he conformed too much to a studied composition, and he came to be most admired for his talents as a decorator, his home in Arezzo considered a masterpiece of what we today know as interior design. With regard to the topics introduced above in this paper, Vasari was a confirmed admirer of Michelangelo as placed him at the opposite pole from Dolce in his regard for Titian, though he did note Titian's ability in his second volume. (See Gaunt 199-201). Vasari became embroiled in the local artistic politics of Venice when in 1541 he visited Venice with copies of Michelangelo's paintings Leda and Venus Reclining with Cupid which he presented to the Duke of Urbino, soon writing to the duke to press him to buy both works. Naturally this incensed Lodovico Dolce who remained attached to Titian and had been working towards the duke's purchase of Titian's Venus and Adonis. The Duke of Urbino had long been one of Titian's important patrons in a city-state and region of many artists and limited patrons."
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Digital Black and White Photography, 2008.
An analysis of the history of digital photography and a comparison of its results with those of analog cameras, focusing on black and white developments.
1,353 words (approx. 5.4 pages), 7 sources, MLA, £ 32.95
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Abstract
This paper argues that digital cameras are better than analogue cameras. Specifically, the paper looks briefly at the history of digital photography, at its utility in matters such as record-keeping and crime-fighting and at some noteworthy instances of digital photography producing impressive and compelling works. Finally, the paper looks at all of the various reasons why it may be said that digital black and white photography is better than analog black and white photography.
From the Paper
"More than that, the technology that makes digital black and white photographs possible always runs the risk of becoming obsolete. For instance, the old Epson 2200, 7600, 9600 printers have been pushed aside by Epson Stylus Pro 4800, by the Epson Stylus Pro 7800, and by the Epson Stylus Pro 9800 (FLAAR Network, para.8); simply put, unlike the fairly low-maintenance prints rendered by analog cameras, the "splashy" digital B&W prints of today place photography enthusiasts in the uncomfortable position of seeking out new technological tools that have a (quite literally) a built-in obsolescence factor. Be that as it may, though, most photographers will gladly accept this trade-off if it means the chance to be more creative."
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Group of Seven, 2008.
An analysis of how the artwork of the Canadian landscape painters known as the 'Group of Seven' is shaping Canadian national identity and landscape.
1,862 words (approx. 7.4 pages), 9 sources, APA, £ 42.95
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Abstract
This paper examines the 'Group of Seven' and their relationship to the modern Canadian national identity. The paper examines the criticism of this traditional identity created by the art works and discusses how artists since then have followed, but also subverted this tradition. The paper suggests that the 'Group of Seven's' representations of Canada's wilderness in their paintings have became too 'traditional', that is to say rather than represent Canada, they are now used to construct and shape Canada and its landscape to resemble the paintings.
From the Paper
"The Group of Seven aimed at developing a truly Canadian artistic expression. In order to achieve this they turned towards Canadian landscape and wilderness as a source of inspiration. However, what they managed to develop an image that is only partially Canadian. The fact that they erased an important part of it, and thus helped developed an incomplete image of their country is the direct result of absence of aboriginal elements in their work. By this, I do not only mean a presence of aboriginal people and their lifestyle documented on the landscape paintings. The closed mind to the influence of traditional aboriginal culture is also obvious in the opus of Group of Seven. The truly Canadian artistic expression and the painting of Canadian wilderness cannot exclude the Native peoples. As such it should be the blend of the Western ideas with traditional culture. Some have argued (Campbell, 2003; Jessup, 2006) that the aboriginal art has bended under the influence of the settlers' art more than vice-versa, a fact that is a reflection of colonial policies and trends as shown in the examples of photographs. The line where the settlers and native culture mixes is the true source of images of Canada of that period. The neglect of the aboriginals and their culture in artistic presentation of wilderness has wilder connotations. Their culture is underrepresented in the Canadian museums and galleries. Considering that modern Canada is a multicultural country, continuation of this trend can once again paint a different Canadian Landscape."
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Shelley and Romantic Beauty, 2008.
An analysis of the ideology of romantic beauty in "On the Medusa of Leonardo Da Vinci in the Florentine Gallery" by Percy Bysshe Shelley.
1,854 words (approx. 7.4 pages), 6 sources, MLA, £ 42.95
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Abstract
This literary study examines the ideology of romantic beauty in the poem "On the Medusa of Leonardo Da Vinci in the Florentine Gallery" by Percy Bysshe Shelley. The writer notes that the central theme of romanticism that arises in this poem focuses on the dark and terrifying Grecian mythological creature Medusa. The writer maintains that for romantic poets such as Shelley, there was a concerted effort to represent feminine beauty and grace through the veil of darkness or death in this poem about Da Vinci's famous painting. In essence, the premise of death and decay is the central element of romantic beauty in Shelley's poem about Da Vinci's depiction of the terrifying Medusa.
From the Paper
"This critical perspective is one key aspect for understanding why Shelley saw beauty in this terrible creature--through the lens of mythological history and the victimization of Medusa at the hands of Minerva and Neptune. In this manner, the basis of romantic beauty hinges on the darkness of humanity, which invariably will produce a cycle of life. For romantics like Shelly, this cycle of death and decay is an essential part of life that illuminates the beauty he sees within Da Vinci's Medusa.
"The evolution of the poem further builds upon the beauty of Medusa as a seductive woman figure that seeks to bring down any man that comes within her grasp. Shelly is keen to point out her horrifying appearance, but it is her inner 'grace' that defines her beauty through the image of death and decay that seduces men .."
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Three Baroque Artists, 2008.
A discussion of three artistic styles - Catholic, Protestant, and academic art - that show different aspects of the artistic concerns of the Baroque era.
876 words (approx. 3.5 pages), 4 sources, MLA, £ 22.95
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Abstract
This paper examines different styles within the Baroque era focusing on three major types: Catholic, Protestant, and academic art. The paper then discusses an example of each type of artistic style. The first is Dutch art of the Protestant Reformation, best represented in the works of Rembrandt van Rijn, especially his important work the "Christ Preaching". The paper explains that the second painting is representative of the Catholic Counter-Reformation, embodied in the work by Jacopo da Empoli called "Three Maries at the Tomb" (1570s). The paper then points out another style that is identified with academic traditions in Italy and France, with examples shown in classical, academic landscapes and allegorical personifications, as in Giovanni Battista Passeri's "Musical Party in a Garden" from the 1640s, oil on canvas. The paper further explains that this differs in that there is no religious iconography or scriptural subject matter in the scene described by the title, set on the outskirts of Rome. The paper concludes that religion was an inspiration and a subject matter, and the particular theological background of the era contrasted Protestant and Catholic images, often of the same biblical passages, and that the academic interest was more in the formal structures of art.
From the Paper
"The religious subject matter is common in the Baroque era and is treated here in a rather formal style. Rembrandt was noted for his etchings and his drawings, and they are noted for their spontaneity and immediacy. He used drawing first as a means of studying the visual world and of storing motifs for use in paintings and etchings. More than this, though, he saw drawing as an art for its own sake. His draughtsman ship was marked by linear and tonal accents such as are seen in the Self-Portrait and again in Christ Preaching, with both marked by the careful formation of tonal accents, seen here especially in the clothing worn and in the relationship among the numerous people in the audience and Christ, standing in the center of the frame with hands raised as he explains some concept to the throng."
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"Criticism and the Public Arts", 2008.
This paper defends the course "Criticism and the Public Arts" as a beginning point in understanding how to apply academic methods of study to all aspects of art and communication.
2,140 words (approx. 8.6 pages), 9 sources, MLA, £ 47.95
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Abstract
This paper explains that "Criticism and the Public Arts" is a course that talks about art in society and about what is and is not accepted in society. The author points out that these issues need to be given a stronger academic treatment because the subject matter is not what decides whether a course of study is sufficiently rigorous but rather the methodology applied. The paper relates that a critique of public art is not merely a compendium of what one likes or does not like but instead necessarily includes an assessment of the appropriateness of the public art and of the complexities of communication. The author stresses that public art involves a number of decisions that can be characterized in theoretical terms and analyzed empirically as part of the process of developing an applicable theory.
From the Paper
"Critic Ruth Slavin begins by considering the writing that supports public art, noting that it stresses two different but complementary ideas: 1) public art is considered to stand in a direct, unmediated relationship with the audience; and 2) public art is seen as an exercise in cultural democracy. Slavin is clear about the supposed result of this as she writes that "the placement of art outside the normal venues of the gallery and the museum becomes an important tool for enlarging the possibilities for participation in the fine arts." However, Slavin further finds these to be "liberal good intentions" often faced with "public incomprehension and hostility."
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Modern Motion in Futurism, 2008.
A study of the theme of modern motion in the paintings "State of Mind: The Farewells" by Umberto Bocking and "Cosmic Flora" by Paul Klee.
750 words (approx. 3.0 pages), 2 sources, MLA, £ 18.95
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Abstract
This paper examines the nature of modernity in motion within the futurist movement at the turn of the 20th century. By analyzing "State of Mind: The Farewells" (1911) by Umberto Bocking and "Cosmic Flora" (1925) by Paul Klee, the paper shows how the works present both an organic and industrial representation of the fast movement of technological developments, which provide a distinct sense of motion through composition and objective technique. The paper concludes that, through their desire to capture the quickening tempo of advancing technology and rapid development, these painters took an abstract and progressive view towards motion in composition, in which modern motion became the axis of human progress.
From the Paper
"Another advocate and inspiration of the futurist movement was Paul Klee, as his compositions also provide a varied set of modern motion that provide a more organic variety of this style. In "Cosmic Flora" Klee shows a set of tiered expressions of the movement of life in 'cosmic' framework, very much like a set of parallel filmstrips in a moving picture. The different aspects of floral and landscape arrangements act as a similar stylistic that was to be used as a vehicle for motion in futurism. Other artists such as Egon Schiele and Franz Marc used this type of motion that provides a framework for motion in relation to space. Klee's attempt to show an abstract point of view of movement in a cosmic setting is also similar to Boccioni's "The City Rises", which provides the idea of modern urban people as a blurred and nearly incomprehensible set of objects that are restless and constantly active. With the 20th century technological advances making rapid progress, Klee is representative of a more organic type of futurism that expressed movement in the fluidity of modern motion (Klee 31), but without the industrial aspects of Boccioni's works. For Klee the major difference between his own organic motion and industrial motion are the only aspects of differentiation that do not bind him to the futurist movement of Boccioni's "State of Mind: The Farewells.""
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Art as Propaganda, 2008.
This paper discusses the use of art in politics within the American society.
2,938 words (approx. 11.8 pages), 8 sources, MLA, £ 61.95
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Abstract
In this article, the writer discusses that art and politics often go hand in hand, though usually artists seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. The writer notes that at times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval. The writer concludes that the history of the way art has been used by the government suggests that the art itself is viewed in terms of its usefulness more than its actual content or any aesthetic base it may have, and primarily modern art has been used to counter the more staid and more politicized art in support of enemy ideologies.
Outline:
Introduction
Modern Art
Art and Politics
Art and American Taste
Art and Ideology
Conclusion
From the Paper
"The modern art movement diverged from the more accepted representational art preferred by most political leaders, and even though much modern art was considered too opaque to be understood and in some ways decadent, it was embraced as a propaganda tool by the U.S. government through agencies such as the CIA during the Cold War period. Most Americans are unaware of the way this process was undertaken and used and might be surprised by it, given the more prosaic attitude taken toward art by political leaders to this day. Analysts point out that many of these programs were conducted quite openly just the same, though even observers aware of the program might wonder why modern art was chosen and how it was used to benefit American interests."
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"Bridge at Argenteuil", 2008.
A look at the Impressionistic innovations of Claude Monet in the "Bridge at Argenteuil".
733 words (approx. 2.9 pages), 3 sources, MLA, £ 18.95
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Abstract
The paper analyzes the facets of the impressionistic style in the "Bridge at Argenteuil" by Claude Monet. The paper describes how the "Bridge at Argenteuil" is an innovative landscape that creates new ways to interpret color and light through the stylistics of Monet's impressionist approach.
From the Paper
"Claude Monet painted The Bridge at Argenteuil in 1874, further innovating new insights into how impressionism would evolve in light of the classical realism as a dominant art style of his era. The clarity of form through Realist objectivity (the major influence of scientific thought) in many European works--especially those in Great Britain--was a major cultural opponent of Monet's painting style and unorthodox use of color and lighting. In the painting, Monet applies a series of short brushstrokes that result in a choppy formation of various colors, such as green, browns, and blue that build upon the reflection of the bridge, the sky, and the boat on the water."
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The "Pieta", 2008.
An analysis of the pyramidal aspects of Michelangelo's "Pieta" and the Christian iconography of the Holy Trinity within it.
1,125 words (approx. 4.5 pages), 4 sources, APA, £ 27.95
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Abstract
This paper presents a formal, iconographic and historical analysis of the "Pieta" by Michelangelo. It defines the pyramidal aspects of the sculpture's composition and the Christian iconography of the Holy Trinity. It also looks at the historicity of the piece as it relies on classical and natural stylization that were in line with Michelangelo's humanist perspectives for Mary after Jesus was crucified.
From the Paper
"This aspect of critical commentary is revealed through the objectives of Michelangelo to create a sculpture that would echo the divine nature of Christ, yet with the humanist values of naturalism that he espoused in depiction of human relationships. The divine nature of Christ and Mother reflect the unity of religious vision with Mary sorrowfully looking down on her dead son, yet they are both keenly aware of the significance of the Passion and the Crucifixion. This aspect of the iconography of the sculpture dictates the human suffering involved in Christi's life on earth, yet with the divine serenity of peace on his face with the realization that he has fulfilled his promise to humankind (Hibbard, 1985, p.270). This is the humanist Christian iconography that emulates a divine relationship between mother and son, but not without the deified presence of Christ fulfilling his redemption of sin for humankind by his crucifixion."
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