| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "GREEK ART ARCHITECTURE LITERATURE": |
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Greek Art, Architecture and Literature, 2002.
A look Greek culture as effected by art, architecture and literature.
650 words (approx. 2.6 pages), 3 sources, £ 18.95
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Abstract
This paper discusses the basic themes of Greek artistic endeavors, such as individualism, rationalism, and humanism, and analyzes how Greek art, architecture, and literature reflected the society in which they were created.
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Greek Art and Architecture, 2002.
Discusses the changes which took place in funerary art and architecture of the ancient Greeks.
900 words (approx. 3.6 pages), 2 sources, £ 25.95
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Abstract
In funerary art, the Greeks from the Geometric period in the 8th century through Hellenistic times seem to go from the heroic and noble to the sentimental and mawkish. Is funerary art a clue to the emotional development of a people?
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Greek & Roman Art & Architecture, 1989.
Discusses Greek form vs. Roman space in architecture and idealism vs. realism in sculpture.
1,350 words (approx. 5.4 pages), 9 sources, £ 33.95
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From the Paper
"Greek and Roman art and architecture were both innovative and distinguished by features which can be compared and contrasted. In both cultures the major trends in art and architecture were set in their respective archaic periods. However, the comparison and contrasting of both are best restrained to the more mature periods of each society.
Classical Greek art begins around the Fifth Century B.C. During this time the Greeks had consolidated their military victories by ousting the Persian invaders, reduced civil unrest by removing the old kingships and replacing them with oligarchies and democracies, and limited the mercantilism of the Greek poli or city.states (Greer 66-69). In terms of art and architecture, however, it should be remembered that Greek art was largely commissioned by the demos of relatively small cities (...)"
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Golden Mean in Art and Architecture, 2005.
This paper discusses Greek culture and beliefs and looks at the Golden Mean in art and architecture.
2,025 words (approx. 8.1 pages), 4 sources, £ 57.95
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Abstract
This paper briefly looks at Greek art and architecture to determine the relationship between them and broad cultural and/or philosophical currents animating Greek society and culture. Specifically, this paper examines the relationship of the Greek concept of the "golden mean" to art and architecture in the classical world and suggests that there are interesting manifestations of the Golden Mean in Greek art and architecture.
From the Paper
"The culture and beliefs of the ancient Greeks clearly manifested themselves in the artwork they produced. This paper examines the relationship of the "Golden Mean" to the art and architecture of the Greeks. What should become apparent is that the "Golden Mean" - which in the world of art meant an emphasis upon harmony, balance, symmetry and austere beauty - was an animating factor in the vase work and architecture of the Greeks. This paper examines the above-mentioned relationship by looking first at examples of the "Golden Mean" in Greek pottery. From there, the paper examines the presence of the "Golden Mean" in Greek architecture. Specifically, because of its pre-eminent place in the architecture of the ancient world, special attention is devoted to the design of the Parthenon."
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, £ 33.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Medieval Art and Architecture, 2006.
Examines what influenced medieval art and architecture.
1,522 words (approx. 6.1 pages), 5 sources, MLA, £ 35.95
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Abstract
Arguably Islam was the most influential of the cultural donors to medieval art and architecture, via Armenia as well as the cultures hugging the Mediterranean, but Islam itself had already influenced other cultures (Byzantine) and been influenced by even earlier ones (pre-Islamic Persia and more). This paper shows, therefore, that any tracing of Islamic influence in medieval European art and architecture must include the incorporated remnants of all the earlier inter-cultural donations. It shows that the two most influential contacts though which the cultural iconographies were spread are, arguably, the Crusades and the Moorish subjugation of Spain.
From the Paper
"Of particular importance to medieval life was the abbey and the priory. Particularly important were the Benedictine abbeys. While Benedict was a mid-sixth century cleric, and Islam itself, of course, could not have been influential until at least the start of the seventh century, Benedictine abbeys continued to be built for centuries, reflecting in great degree an Eastern influence. While "the typical plan of Benedictine abbeys and priories evolved out of the Roman country villa of late antiquity"......about 820, a plan for an idea monastery was created (Schuetz-Miller, 2000). It was considered to be the first pattern that took into account the relationship of all the parts to each other and to the whole, assuring geometric harmony; harmony had been a hallmark of Eastern life."
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National Socialist Art and Architecture, 2007.
A look at how the National Socialists in Nazi Germany used art and architecture for political purposes.
2,382 words (approx. 9.5 pages), 10 sources, MLA, £ 52.95
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Abstract
This paper examines how, forming part of the propaganda machine, art and architecture were used largely for the glorification of the Nazi regime and the Aryan race and for the denunciation of Judaism, Bolshevism and what the Nazis thought of as "degeneracy." The paper looks at how, by enforcing changes in the art world and through the use of "new German" architecture, the Nazis sought to cleanse the fatherland of "degenerate art", which was seen as detrimental to the Volk, and to ensure the National Socialist movement's immortality through buildings that would survive to inspire future generations of the thousand year Reich.
From the Paper
"Art held a place of high value in National Socialist ideology. Hitler who was an artist turned politician inspite of himself had said "art is the only truly enduring investment of human labour." Hitler linked artistic styles with race, claiming that the Weimar period's "degenerate art" was a result of "racial decline." The Fuhrer also linked art with politics saying "art has at all times been the expression of an ideological and religious experience and at the same time the expression of political will." According to Nazi ideology, only Aryans were the true bearers of culture, therefore only they could produce true art. The modern styles such as Cubism, Dadaism and Expressionism, which had flourished during the Weimar period were a result of "cultural Bolshevism" and influenced by the Jews. "
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Medieval Art and Architecture, 2004.
An analysis of medieval art and architecture.
1,526 words (approx. 6.1 pages), 5 sources, MLA, £ 35.95
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Abstract
This paper discusses the notion that architects and artists working in medieval Europe borrowed ideas from all the cultures surrounding the Mediterranean or coming across the central European mountain ranges. The paper presents examples of this cross-culturalism, with a focus on Islam being the most influential of the cultural donors to medieval art and architecture. The paper contends that, although these examples do not definitively trace any single aspect of Islam into Western ecclesiastical art, they do serve as an indication that it is impossible to consider any medieval art, no matter how isolated we think Europe of the Middle Ages must have been, without considering the very substantial trade, not to mention wars and incursions, that made the traditions of one culture available to the others.
From the Paper
"In addition, the precursors of Islamic art and architecture?elements that continued to inform their vision throughout their expansion into Spain and later, via their export to ?corporate? Europe by returning Crusaders?cannot be surgically removed from any consideration of so-called Islamic influences on medieval European art and architecture. Rather, they must be viewed as a substrate that upheld the Islamic vision by virtue of continuous adherence in the society in which Islam was born, and therefore as an unbroken line into the monastic traditions of medieval Europe. It was, moreover, the monastic tradition that formed the bedrock on which all other medieval art and architecture achievements were based; the monasteries were the repositories, after all, of the learning that would otherwise have been lost."
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"Art and Architecture from Renaissance Milan", 2001.
The paper discusses Evelyn Welch?s illustration of the history of art and architecture during the rule of the two dynasties, the Visconti and Sforza, in her book, "Art and Authority in Renaissance Milan."
1,560 words (approx. 6.2 pages), 0 sources, £ 36.95
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Abstract
This paper examines the tensions and arrangements between the city government and the court in Evelyn Welch?s "Art and Authority in Renaissance Milan." Images are used to legitimize the authority of the dukes as well as the details of the multitude of problems that occurred during the constructions of the monumental cathedral of Santa Maria Maggiore, the Ospedale Maggiore, and the Castello di Porta Giovia along with the grievances that the artists and architects had with the Milanese court and government.
From the Paper
"In the first chapter, Welch discusses the images that were used to claim authority in Milan. Unlike the King of France, the signori of Milan in the fourteenth and fifteenth-century could not declare their authority as God-given. The Milan rulers, from the first duke (Gian Galeazzo Visconti) to the last (Ludovico Maria Sforza), used various sources of confirmation of their position from distant papal or imperial investitures. But the most effective means of imposing authority over the Milanese citizens and residents of the surrounding countryside was to produce countless images that asserted ducal ownership of buildings, works of art, and people. Some of these images took the form of family arms, portraits, and color codes. Bridges and towers were branded with a coat of arms when absorbed under new dominions. Some signori asserted their authority with equestrian portraits. Images were represented differently in art and literature depending on the audience and the time. Art was used as a collaborator for political control (which was not uncommon). There was a constant transition in leadership. Two dynasties controlled Milan - the Visconti and the Sforza. The Viscontis, native Milanese, were based in the surrounding countryside. The Sforzas, originally mercenary soldiers, were from the Romagna and acquired their rights over Milan through a marriage to the daughter of the last Visconti duke. In art, historical armed conflict was disguised. Successive rulers changed ancestral histories. A leader that became powerful through tyranny was transformed as reverent. But regardless of even great court commissions, the images of authority were only effective if their audiences were predisposed to accept the court?s authority. There was a reciprocal relationship between the art and the audience. "
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"Art and Architecture in Society: Production and Reproduction in Historical Contexts", 2002.
Reviews this book by John Ruskin and Charles Jencks on the role of the artist in relation to the times he lived in, focusing Victorian England and the 20th Centur.
1,150 words (approx. 4.6 pages), 5 sources, £ 31.95
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Abstract
John Ruskin and Charles Jencks represent different historical conceptions of art and architecture. Ruskin in the Victorian-age of England and Jencks is in the more erratic eclecticism of the 20th century. Each critic offers particular views on the role of the artist in relation to society, however Ruskin's can be understood as one that desires to control the artist and Jencks recognizes that art is invariably a free expression of the individual. The responsibility is thus different: Ruskin believes the artist is responsible to society, and Jencks believes that society has a responsibility to the artist, in that artists represent a challenge to public perspectives and this challenge is always reflective of social change.
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Renaissance Art vs. Architecture, 2001.
This paper discusses the Renaissance, specifically comparing the music and architecture of the time.
910 words (approx. 3.6 pages), 6 sources, £ 23.95
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Abstract
This paper compares the music of Josquin, a composer of the Renaissance, to the architecture of the same time. The author examines how architecture and music expressed the new ideas that permeated the world during this period in history. A broad examination of both the music and architecture is included.
From the Paper
"The renaissance was a time of rebirth and renewal. All over Europe, people were looking back to times they saw as better, instead of towards the unpredictable future. Specifically, the people looked back to the ancient worlds, and found the humanitarian values of the ancient Greeks and Romans very inviting. The arts were reborn from classical ideas, and a new focus was placed on individuals and the natural world (Wright 80). New inventions and wonders filled Europe. This was the era of both the printing press and telescope?s birth. New ideas permeated the world, remolding the way people thought. Music and architecture were no exceptions to this rebirthing."
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Greek Art, 2002.
An analysis of the ancient era of Greek art, focusing on sculptures and paintings.
878 words (approx. 3.5 pages), 3 sources, MLA, £ 22.95
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Abstract
This paper briefly examines the history of ancient Greek art. It focuses on several periods - Archaic Period, Early Classical Period, Golden Age, Late Classical Period and Hellenistic Period. Different types of art forms are discussed and examined how they developed during these periods. The influence of other cultures on Greek art is also analyzed, namely Middle Eastern and Egyptian.
Outline
I. Introduction
A. History
B. Cultural influence
II. Archaic Period (600-480 B.C.)
A. Egyptian influence
B. Middle Eastern influence
III. Early Classical Period (480-450 B.C.)
A. New humanism led to balanced human form
B. Marble and bronze figurines
IV. Golden Age (450-400 B.C.)
A. Temples of the Athenian acropolis
B. Parthenon sculptures
V. Late Classical Period (400-300 B.C.
A. Expression of emotion
B. Individualization and three-dimensional movement
VI. Hellenistic Period (323-31 B.C.)
A. Nike and Aphrodite
B. Terra-cotta figurines
VII. Conclusion
A. Importance of masterpiece copies
B. Influence of Greek culture
From the Paper
"The earlier great cultures of Egypt and the Near East were making art long before the Greeks and much of the early Greek art looks Egyptian, with its stiff and profiled poses and boxy geometric designs. Moreover, the Greeks borrowed the ideas, motifs, conventions, and skills from these earlier civilizations (Tansy 1996). However, it was the Greeks who made the leap into naturalism and in their representations of the human body created an ideal of perfectly balanced proportions that has never been improved upon. Although, we often speak of Greek and Roman in the same breath, the greatest accomplishments of Greek art were five centuries old by the time the Romans began to copy them. "
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English Baroque Art and Architecture, 2004.
This paper examines three masterpieces of Baroque art.
1,125 words (approx. 4.5 pages), 4 sources, MLA, £ 28.95
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Abstract
This paper examines three masterpieces of Baroque art: Christophre Wren's St. Paul's in London, Inigo Jones's "Queen's House" and Anthony Van Dyck's portrait of Charles I. Characteristics of Baroque art.
From the Paper
The term Baroque is not one that tends to appeal to most art-lovers in the st century even though many people familiar with contemporary art might in fact have some difficulties in defining exactly what constitutes the Baroque style We just know that it's overly elaborate and impossibly found of the curve and the swirl But while we might well be justified in decrying the art of the Baroque as overly formal impossibly fussy and entirely inauthentic for our own tastes we must also remember the art of every
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