| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "ABSTRACT ART": |
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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, £ 21.95
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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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The Art of Mark Rothko, 2004.
Explores the abstract art of 1940s and 1950s New York artist, Mark Rothko.
1,243 words (approx. 5.0 pages), 4 sources, MLA, £ 29.95
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Abstract
Mark Rothko was a founder of the New York School, an extraordinary group of artists that emerged as a leading cultural presence in the years following World War II. Rothko?s contributions consist of a few broad rectangles superposed and centered on large, tall canvases. The paper explains that Rothko desired something more weighty and grand, an art that could express not just the unconscious of an artist, but the spirit of mankind. The paper shows that the effect of Rothko?s images, as realized with his eloquent coloring, can be at once monumental and subtle, stunning and gradual. The paper includes several photographic examples of Rothko's work, including "Number 22", from 1949.
From the Paper
"The astonishing body of work Rothko produced throughout the 1950s was both extraordinarily consistent and remarkably varied. Although he drastically reduced his forms to rectangles, he experimented with color range and the size and format of the canvas. Each of his paintings embodied its own totality and formed part of an intense dialogue with its companions. Rothko was constantly exploring, reshaping, and reevaluating form and color, and each painting is a testimony to the charged relationship he established with the canvas."
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World War Two and Abstract Expressionism, 2001.
An examination of a genre of art called abstract expressionism and how it expresses historical events.
4,335 words (approx. 17.3 pages), 10 sources, £ 79.95
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Abstract
A look at the impact of world wars on abstract expressionism, a genre of art. The author examines what paintings under this genre represent and how they come to play significant roles in the expression of historical events.
Table of Contents
I. Introduction
A. Brief definition of abstract expressionism
B. Examples of other relationships between artistic movements and political happenings
1. Romantic movement
2. Vietnam
C. Brief description of the effects of World War
1. effects on the U.S. economy/politics
2. effects on the people
D. Thesis as to the relationship of World War II and the rise of Abstract Expressionism
1. Three major influences
a. immigration of European artists, writers, intellectuals, scientists
b. the Surrealist movement
c. ancient influences (art)
II. Body
A. Before World War II
1. Depression
2. Thirty Years War
3. World War I
B. Historical Roots
1. the 1930s
a. political happenings/economy
b. art & the relationship between the two
2. late 1930s early 1940s
a. political happenings/economy
b. art & the relationship between the two
C. Intellectual Roots
1. Themes of Abstract Expressionism
a. the return to origins
b. the human continuum
c. conflict and the dualistic pattern of human life
d. opportunities/new beginnings
2. Heritage (Ancient influences)
3. Nature
4. the subconscious
D. Artists
1. Gesture
a. style
b. specific artists
2. Color Field
a. style
b. specific artists
3. In-between
a. style
b. specific artists
III. Conclusion
A. The evolution of art starting from the period of the 1930s (WWI, Depression, etc.) to
after World War II
1. Content
2. Purpose
3. Style
B. How World War II molded Abstract Expressionism and how the artists drew from World War II
1. the people?s responses to the war
2. united aspects of the art that showed a general feeling towards WWII
C. How, by the rising of Abstract Expressionism, modern art was affected, and how it
changed the way that people expressed their sentiments
From the Paper
"At first, there was an initial resistance to Abstract Expressionism, but by the 1950s it was recognized as the dominant force in American painting, encouraged by the government while being considered a symbol of American cultural freedom.For the first time ever, American art received widespread and serious attention in Europe. Abstract Expressionism can hardly be characterized as a single movement due to the diversity of the art it encompasses. Despite this variety, Abstract Expressionist paintings share several broad characteristics ? they are basically abstract, emphasizing free, spontaneous, and personal emotional expression, and they exercise considerable freedom of technique in order to attain this goal. The artists of this period manipulate the physical variables of the paint in order to convey expressive qualities, often on large canvases to give the visual effects an engrossing power. Abstract Expressionist artists can be divided into three categories based on style - gesture painting, such as done by Jackson Pollock, color field painting as done by Mark Rothko, or an in-between style as done by Robert Motherwell."
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Trend of Modernist Art, 2008.
This paper looks at the trend of modernist art and discusses art from realism toward abstraction.
833 words (approx. 3.3 pages), 3 sources, APA, £ 20.95
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Abstract
In this article, the writer looks at realism and notes that realism was also considered to be illusionism. The writer explains that this was because, in realism, the artist made every attempt to create the illusion that what was being seen was as though the viewer were looking through a window into a moment in life. The writer points out that illusionism required a strong focus on shadow and light, as well as the composition of the figure in relationship to the canvas. The writer discusses the concept of illusion in painting, focusing on paintings by Ingres, Cezanne and Matisse, small copies of which are included in the paper.
From the Paper
"In the painting by Ingres the painter has utilized black background in order to give the illusion that the subject is close in proximity to the viewer. The line of the drapes serves to draw the viewer's eye closer to the subject, leading into the line of the woman that is the center of focus. The artist then uses shadow and light to accentuate the figure, detailing the shape of her form. Color is also used to add to the portrait, with blues in the drapes and on the bed. This serves as an additional background for the flesh tones that are used, which are mildly distorted on the legs, as the artist attempted to give the illusion of leg length and realism in relation to the woman's position on the bed. Additionally, naturalistic tones have been used in the painting that adds to the realistic affect of the work."
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Constructivism and Suprematism in Soviet Art, 2004.
This paper discusses two new art movements established as part of the new communist state in the first two decades of the 20th century in Russia, Constructivism and Suprematism.
1,430 words (approx. 5.7 pages), 6 sources, MLA, £ 32.95
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Abstract
This paper explains the Constructivism movement, which relied on geometric shapes and was almost mathematical, and the Suprematism movement, in which art, before all else, is spiritual. Suprematism carried much more symbolism than the Constructivist artwork, which emphasized function. The author describes the work of Alexander Rodchenko, Vladimir Tatlin, El Lissitzky, and Casimir Malevich. The paper summarizes that, despite the fact that political changes during the mid-1900s brought these abstract art movements almost to an end, the impact of these artists on Russia, Eastern Europe, and the West continues to this day. Illustrations.
From the Paper
"Rodchenko asserted that the concept of composition was a relic, because it was mere aesthetics and related to taste and other out-of-date artistic concepts. Instead, he said, composition had to be replaced by principles of construction and organization. ?All new approaches to art arise from technology and engineering and move towards organization and construction.? Construction represented the height of hundreds of years of artistic creation. It was part of the same process that led to Communist Russia. Rodchenko also stressed that a utilitarian element was present in the idea of organization and construction. The artist?s goal was not to create a work of art but rather a utilitarian product and solving technological problems. Such statements polarized the Constructivists and those who were strongly aligned with aesthetic concerns."
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Modern Feminist Art, 2002.
A overview of three different approaches to modern feminist art under the categories of "The Body Politic", "The Body Social" and "Decoration vs. Abstraction".
2,400 words (approx. 9.6 pages), 6 sources, £ 61.95
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Abstract
This paper will examine three general approaches in modern feminist art by three feminist artists. It will be argued that these feminists assume radically different perspectives with regard to their mediums and objectives. Under the general categories of "the Body Politic" (feminism and politics), "the Body Social" (representations of the human body as a site of conflicting social values) and "Decoration vs. Abstraction" (hierarchical double standards with regard to "male" abstraction and "female" decorative arts), it will be shown how these differences in part reflect the shifting phases of modern feminist art, but more importantly signify the diverse multiplicity of modern feminist art.
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Neolithic Art, 2005.
This paper discusses the importance of the Neolithic period to the art historian. It is important because it laid the foundation for all consequent art.
1,735 words (approx. 6.9 pages), 2 sources, MLA, £ 39.95
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Abstract
This paper explains that, like archaeologists, art historians play the role of detective by studying, analyzing, and interpreting the earliest known works of art not only to explain their aesthetic beauty or significance, but also to demonstrate how they represent the unwritten history of humanity. The author points out that the art from the area called Catal Huyuk demonstrates both figurative and abstract components, showing that art was already conceptual at this time, being about ideas and not things. The paper relates that Cycladic art and the megalithic architecture, which are represented in structures of cromtech design, or circular and spiral arrangements like Stonehenge, reveal the unifying feature of art and its movement from Europe to the Middle East to Europe.
From the Paper
"Only when the context of a work of art is known can we go beyond an appreciation of its formal qualities and begin to analyze its place in the history of art - to trace the evolution of art through the ages" (23). Within this historical goal of the study of art, also being a study of human evolution, the Neolithic period is of great importance. This period of human evolution was among those that witnessed "the birth of art," and lasted from approximately 6000 BC to 3500 BC (25). The Neolithic paintings and artworks illustrate the way in which early man interacted with his environment, his level of development as in the tools he had fashioned, his culture, his vision of himself in relation to the world and other living creatures, and his beliefs, further providing a link between the different stages of human evolution and art development through analysis of the different techniques and materials used, and the different subjects portrayed as well as the differing methods of portrayal."
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Leon Tolstoy's "What is Art?", 2006.
This paper argues against Leon Tolstoy's conclusion in his famous book "What is Art?".
1,205 words (approx. 4.8 pages), 3 sources, APA, £ 28.95
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Abstract
This paper explains that Leon Tolstoy in "What is Art?" argues that
art is not the manifestation of an abstract and absolute idea, such as beauty, God or simply something created to give pleasure, as generally purported by most of the thinkers and philosophers, but rather is intimately connected with the religions and moral values of every age and of every people. The author points out that both art and religion can reveal a different, absolute reality; but it cannot be agreed that good art should strictly follow religious and moral values. The paper stresses that saying art is only supposed to express the religious idea of good denies the most important quality of art--- imagination. The paper includes several quotations.
From the Paper
"As you say it yourself, art can serve to unite people and to realize that brotherhood of man, just like religion, through its ideas of goodness and morality. But it is likewise obvious that good art can give an account of the varied human experience and if it speaks, as you say, of nudity, sexuality or adultery, it does nothing more than to relate about human passions or emotions. I think the subject of a certain piece of art should not be confused with its final purpose. And it is to be noticed that a piece of literature, for example, which is replete with "immoral" ideas can produce the same state of elevation of the soul, just like the one that praises moral or Christian virtue. I think the most important fact is that art can reveal the truth and it does this by means of an aesthetic revelation, no matter its particular nature."
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Beijing Opera and Chinese Martial Arts Training, 2006.
An in-depth look at the correlation between two, seemingly different, forms of art, the Beijing Opera and Chinese martial arts.
5,455 words (approx. 21.8 pages), 11 sources, MLA, £ 92.95
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Abstract
This paper looks into the parallels between actor training in the Peking and Beijing Opera and the training for Chinese martial arts. The paper consults historical and present day material in an attempt to make meaning of the training requirements for these two different, yet very closely related, artistic expressions of form, method, technique, and performance. The paper discovers that much more is involved than simply repetitious physical training and indeed that without the alignment of mind and body, the performer simply will not and cannot realize true mastery or excellence of performance.
Outline:
Abstract
Objective
Introduction
Elements of the Beijing Opera
The Importance of Symbolism in the Beijing Opera
The Music of the Beijing Opera
Spoken Dialogue of the Beijing Opera
Use of Color in the Beijing Opera is Symbolic
I. The Beijing/Peking Opera and Training Requirements and Regimen Examined
II. David Wright - Experiential View of Training Requirements for Beijing Opera
III. Chinese Martial Arts Training Examined
Different Classification of Wushu
Ten Fundamental Skills in Chinese Martial Arts
Mental Skills Practice
IV. Examination of Similarities in Martial Arts and Beijing Opera Training
Characteristics of the Beijing Opera - Excess, More is More
V. Findings of this Study of the Similarities Shared by Chinese Martial Arts and Opera Training and Performing Skills
Summary and Conclusion
From the Paper
"Physical training for these performers is "structured around repetition" (Wright, 2000) and "over the course of the workshop a range of key movement patterns were developed and refined in this way." According to Wright: "The movements would be demonstrated, the actors would copy movements and then repeat them..." over and over, and then over again. Wright relates that "Further movements and combinations of movements and developments upon movements would then be introduced. Repetition was used, not simply to get the movement right, the repetition of physical action is regarded in the Peking/Beijing Opera, according to Sussman, as a way of absorbing information. She states that there is a deliberate attempt, in this training, not to engage the actor in thought. The actor needs only to 'learn' the action in order to repeat it. Hence, the principal form of learning is the learning of the body. The body learns, then contains the information that comprises the style and the role and therefore the performance. It is the body that enters most fully into the research. And as the body learns, the body changes as a result of that learning. " (Wright 2000)"
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Beauty of Art, 2005.
A brief discussion about how beauty is in the eye of the beholder, especially in relation to art.
854 words (approx. 3.4 pages), 4 sources, MLA, £ 20.95
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Abstract
This paper is a short discussion about the beauty of art and the abstract nature of beauty of art. Also looks at the history of art appreciation.
From the Paper
"Art is both perceptual and psychological, thus the "power of aesthetic perception is the interaction between the object and the beholder" (Chang Pp). Art creates emotion and so creates response. "The experimental aesthetic value of even the most successful art pieces is relative with changes in time and conditions of the society in which it resides" (Chang Pp). Because art is psychological, it involves both the conscious and unconscious processes of the beholder (Chang pp). This awareness and receptivity of a piece of art is referred to as the sensitivity of the beholder (Chang Pp). Art represents the past realities, as well as functioning as a predictor of societal evolution (Chang Pp)."
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Post-Modern Abstract Artists, 2000.
This paper discusses the life and work of post-modern abstract artists Frank Stella, Andy Warhol and Roy Lichtenstein.
3,140 words (approx. 12.6 pages), 10 sources, MLA, £ 63.95
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Abstract
This paper explains that Frank Stella, born in 1936, influenced by the flag paintings of Jasper Johns, emerged in the 1960s as a leading example of Post-Painterly Abstraction, a reaction against Abstract Expressionism. The author relates that Andy Warhol's Pop Art applied a commercial art style to painting, as he appropriated subject matter from the pulp media. Warhol creating a style out of his own non-involvement with the material and his attempt to produce works that were machine-like, thus separated from the artist. The paper recounts that Roy Lichtenstein (1923-1997) is known for his series of paintings as a comic strip working with stencils to make rows of over-sized dots, forming his paintings of prints and making them look like a huge mass publication product.
Table of Contents
Frank Stella
Andy Warhol
Roy Lichtenstein
From the Paper
"Lichtenstein similarly imitated objects of popular culture, as in his comic-strip paintings taken from comic books and the like, or from his series of advertisements recreated on canvas, such as "Girl with Ball" (1961). Warhol's "Marilyn" images were mechanically reproduced and celebrated the machine element both in the way they were created and in the way they imitated a strip of motion-picture film, which is a mechanical means for reproducing movement. Lichtenstein in "Girl with Ball" and similar images recreated the mechanical look such newspaper print ads have in their original state, as if created by an off-set process that leaves the image flat, with texture showing through from the paper, or the canvas, and with a limited palette in keeping with the tri-color off-set process."
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"Abstract Animals" Lesson Plan, 2002.
This paper evaluates Crayola?s website lesson plan database and describes the use of the "Abstract Animals" lesson plan from that site.
815 words (approx. 3.3 pages), 2 sources, MLA, £ 20.95
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Abstract
The author feels that the Crayola? website, which has hundreds of lessons plans for all age groups, can be used almost exclusively as a source of lesson plans, ranging from science to pop art to multicultural and classical art styles. The paper describes the "Abstract Animals" lesson, very fitting for third graders, which teaches kids how to use simple shapes and colors to draw animals and other objects after the style of more modern representational artists. The author uses this lesson plan within a comprehensive interdisciplinary art curriculum that teaches about the relevance of art within its social and historical setting.
From the Paper
"The third section is called ?Directions,? and for a change is precisely what it claims to be. The directions for this lesson are, in short, to show the children images of various animals and forms and to use tracing paper to draw simple geometric shapes over the forms. (For example, an elephant?s head would be a circle with two large ovals for the ears and a long thin oval for the trunk.) Subsequently these designs are redrawn with marker on construction paper and colored in with chalk."
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Anthropology and the Study of Art, 2006.
This paper uses examples from the Highland New Guinea Arapesh's Tambaran cult to explain how anthropology adds to the study of art.
1,770 words (approx. 7.1 pages), 5 sources, MLA, £ 39.95
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Abstract
This paper relates that, because art stimulates and sustains contemplation, it can be used to reinforce a religious attitude. This can be seen in the art representing Nggwal, an abstract religious idea of the Highland New Guinea Arapesh's Tambaran cult. The author points out that art represents a diagram of social order and therefore can be seen as a guide on how to behave properly. The paper further states that art can be seen as a form of communication that is focused on the preservation and the transmission of culture, customs and history to younger generations, such as the Nambweapa'w myth serving to remind the Tambarans that incest is taboo.
From the Paper
"Moreover, art is used in Tambaran rituals, such as the initiation rite. When a novice enters the Nggwal Bunafunei grade, his senior gives him a painting of his Nggwal. This practice also illustrates the importance of the creator of the art. The artist may declare that his painting is "Sowambon or Wanimbea or some other named Nggwal". This is not because the portrait holds a resemblance to that spirit, but because the artist himself has declared it to be that particular spirit. As such, the creator's prerogative power is applied. Custom require the initiator to be personally involved in his novice's initiation..."
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"The Human Abstract", 2008.
An analysis of William Blake's abstract of the social injustices of modern society in his poem "The Human Abstract" .
921 words (approx. 3.7 pages), 3 sources, MLA, £ 22.95
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Abstract
This paper discusses how, in "The Human Abstract", the poet William Blake muses that the virtues of orthodox, believing Christians and pious individuals in general are often founded upon making certain members of society impoverished and unhappy.
From the Paper
"Blake's anger intensifies in the poem's second stanza. "And mutual fear brings peace;" he rages, in other words, the fear fostered in the hearts of the lower classes peace to his society, but it is a society that is not just. "Till the selfish loves increase. /Then Cruelty knits a snare, /And spreads his baits with care." The good, middle and upper class persons of society may feel society is peaceful, but it is only because it satisfies their selfish, self-love, and although they are unaware of it, they are ensnared by devilish cruelty. Cruelty, personified in the next stanza, "Sits down with holy fears./And waters the ground with tears" and any false, seemingly pious humility encouraged in the churches is really founded upon the cruelty that keeps the system of injustices in place and merely addresses the aftereffects of injustice with small, half-hearted measures."
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