| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "LIFE ART COLLECTOR ISABELLA STEWART": |
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The Life of Art Collector Isabella Stewart Gardner, 2001.
Analysis of the relationship between famous art collector, Isabella Stewart Gardner, and her advisor.
1,745 words (approx. 7.0 pages), 3 sources, £ 39.95
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Abstract
This paper analyzes the relationship between art collector, Isabella Stewart Gardner and her advisor, Bernard Berenson, as illustrated through a series of letters they exchanged during the year 1896.
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, £ 30.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, £ 73.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Art, Sex, and Freedom of Expression in Asian Art, 2008.
An analysis of sex and sexuality in contemporary Asian art.
1,332 words (approx. 5.3 pages), 6 sources, MLA, £ 30.95
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Abstract
This paper explores the expressions of sex and sexuality in the contemporary art of three Asian nations: Japan, China, and South Korea. The paper also looks at public and critical reactions to such works of art, in order to gain insight into the role sex and sexual art play in Asian cultures. The paper then points out that to a Western viewer, images of sex in contemporary Asian art are often shocking in their explicitness or sheer strangeness. The paper explains that once we begin to understand the context in which it has emerged, the representation of sex in contemporary Asian art is analogous to our own in the Western world. The paper concludes that sex is clearly a universal area of interest for artists from all over the world. While some nations, such as the Japanese, are free to explore the subject in all its glorious, perverse, and occasionally horrific detail, other nations punish their artists for making the most minor transgressions.
From the Paper
"In Japanese art, what comes across as shocking to an American audience does not necessarily seem so to the Japanese themselves. This is because the Japanese do not carry the burden of Christian guilt, nor have they been influenced by the Puritan ideals that continue to surface in American discourse. Indeed, the Japanese have a much more open attitude towards sex than any other nation in Asia. Sex in art, however, is often used to challenge accepted modes of discourse in Japanese culture, and is thus considered to be a tool of dissent. This is particularly true for Japanese women artists who wish to challenge the Confucianist idea of women as submissive beings."
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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, £ 32.95
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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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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, £ 61.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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African Rock Art, 2008.
Looks at African rock art as true art.
1,545 words (approx. 6.2 pages), 9 sources, APA, £ 34.95
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Abstract
This paper argues that African rock art is both art and ethnographic records, created by hunter-gatherers, herders and later farming communities five or six thousand years B.C. The paper relates that rock art includes rock engravings (petroglyphs) and rock paintings (pictographs) depicting comparable themes and images but traditionally present a limited number of details and human figures. The paper describes the techniques used in creating the art and contends that African rock art is art because art is in the perception of an individual. The paper includes color pictures, map and graphs.
Table of Contents:
This is Art?
Ethnographic Records
This is Art
Rock Art Links
The Rock Art Research Institute's Perceptions
This is Art!
Complicated Pictures?
Perceptions
From the Paper
"Ethnographic records or rock art, created by hunter-gatherers, herders, and/or later farming communities, is displayed in the majority of Africa countries. Southern African rock-art, however, traditionally records experiences reflecting the belief systems and rituals of the indigenous people of their particular region. Although a minimum of 14,000 sites are currently on record, more exist, not yet formally recorded and projected to exceed 50,000 sites in the Southern African region."
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Outsider Art, 2005.
This paper discusses the history and future of the term "outsider art", referring to art, made by self-taught artists, which stands outside the realm of "fine" art.
3,015 words (approx. 12.1 pages), 10 sources, MLA, £ 61.95
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Abstract
This paper explains that "outsider art", also called naif, naive or art brut, is collected by the most well-known collectors; therefore, the question arises when something becomes popular or "in" does it continue to be "outside"? Can "outsider art" continue in the years to come? The author points out that, for example, after World War I, the cultured in Europe began developing an interest in self-taught creators called "naives", such as Henri Rousseau, who were creating their artistic works throughout Europe especially France. The paper presents many examples of "outsider art" in the U.S., including Mexican-American, jailhouse and street art, some of which has entered the realm of collectors and museums, while other artist prefer to remain "Outside Art".
Table of Contents
Introduction of Thesis Statement
Introduction of Terms Based on Dubuffet and Cardinal
Move from Europe to United States
Definition of Outsider
Examples: Slaves, Mentally Ill, Spiritual, Folk, Recycled
Response to Thesis Statement
Conclusion
From the Paper
""Outsider art" continues to evolve along with changes in society. A new form of work, for example, called "recycled folk art," transform pieces of trash into new treasures. In Mexican-American Texas communities, houses are adorned by objects, colors and symbols that reflect a history over the past to present days. Many of the visually rich barrio decorations are made from everyday castoffs such as Styrofoam cups, tires and tile chips. Brightly colored trucks and cars, tree swings, and televisions act as shrines to the Virgin of San Juan. Windmills and whirligigs are made from soda cans, butterflies from scrapped tin and muffler robots from used auto parts."
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Art as a Mirror of Society, 2008.
This paper examines two works of art, the "Venus of Willendorf," a prehistoric artifact, and Manet's "Paris" in order to discuss how humans define art and the meaning of art.
6,805 words (approx. 27.2 pages), 23 sources, APA, £ 106.95
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Abstract
This paper looks at how people view art. It states that when viewing any work of art, one immediately begins to make sense of the image in terms of how it relates to the world one knows, as well as what one has been taught about history. Not only does society seem to influence the ways in which art is produced - society is often reflected in the works of art itself. Along these lines, this paper aims to answer the question of whether or not people use ancient artifacts that pre-date written culture as a means of "reading" the society that existed during that era. In the case of ancient artifacts such as the "Venus of Willendorf," ultimately modern analysis can only guess by relating the piece's history to modern ideas of what gender might have signified to ancient prehistoric civilizations. However - in the case of Manet - people are able to get a better view of the ways that society and art impacted one another through the use of primary and secondary sources. In contrast between the Venus and Manet's pieces, it can be said that the relationship between art and society is in fact conditioned by a third factor, which is the main subject of this paper - that of history. Without all the written records of the 19th century that have been kept, people might have no way of knowing what they are looking at when they study a Manet painting. Furthermore, "works" - or, perhaps more aptly, artifacts - such as the Venus thus cause people to reconsider what the true definition of art is.
Outline:
The Venus of Willendorf: Women in the Stone Age
Manet's Paris
Women in Manet's Art
Conclusion
From the Paper
"Manet's painting was firmly rooted in Paris of the mid-19th century. It is thus not difficult for us to get a glimpse of what society was like in that time and place by looking at Manet's paintings. Looking at the Venus of Willendorf, however, does not tell us anything about the society that it is a relic of. It thus requires us to use our intellects and our imaginations in order to piece together an explanation that might satisfy us personally, but can never be held up as a firm example, as we can with Manet's paintings. Thus, it can be said that the relationship between art and society is in fact conditioned by a third factor, which has been the main subject of our inquiry - that of history. Without all the written records of the 19th century that have been kept, we might have no way of knowing what we are looking at when we study a Manet painting. This truth comes to the surface when we look at the Venus, which comes from a period that pre-dated all known forms of writing."
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Fifteenth Century Art of the Netherlandish Region, 2002.
This paper discusses the development of art in the Netherlandish region during the fifteenth century and the influence this art had on European art in the centuries to come.
3,111 words (approx. 12.4 pages), 6 sources, MLA, £ 62.95
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Abstract
This paper examines the art of the Netherlandish region during the fifteenth century and suggests that, contrary to common scholarly opinion, the art of this region was important not only from the perspective of how it related to contemporary art in Italy, but, in its own right, was possibly one of the most important moments in Western art history. Also examined are the inventions, innovations, and impact Netherlandish art had the development of European art.
From the Paper
"Nevertheless, the depiction of the world was an unusually strong preoccupation of the Netherlandish painters. Among those artists who worked in the early part of the century, the output of the Tournai painter Robert Campin (c. 1378-1444) and that of the Master of Fl?malle, is sometimes regarded as distinct and sometimes as the work of one individual."
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Hellenistic Art, 2002.
An insight into Hellenistic Art and its influences.
810 words (approx. 3.2 pages), 2 sources, MLA, £ 19.95
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Abstract
This paper discusses how Hellenistic Art was primarily influenced by Alexander the Great?s conquests, which introduced the culture, arts and philosophies of foreign lands into the Greek milieu and how it mirrored Alexander?s pride, his vision and his stature. It looks at how the term ?Hellenistic? describes the arts that fuse the Greek with Asian traditions and reflects a shift in Greek consciousness away from the pantheon of gods toward a private, wealthy sector of art collectors. It evaluates how while the Classical arts of Ancient Greece adorned temples, Hellenistic art decorated the palaces of kings and of the private houses of wealthy connoisseurs.
From the Paper
"New dynastic centers like those at Pergamum and Alexandria promoted large-scale palace architecture influenced by Oriental styles and scale. New royal patronage for the arts differed from that of Classical Greece city-state patronage. Instead of the anonymous, religious statues like that on the Athenian Parthenon, statues honored war victories, new syncretic deities, and portraiture of royal families. The faces and figures of gods and goddesses changed, influenced by the religious traditions of Egypt, the Far East and the Middle East. In short, Greece was less important to Greek art. The Classical period climaxed and left a legacy as grand of that of the Athenian Parthenon. Towns were already established, their architecture preserved."
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Art vs. Design, 1997.
An overview of the historical debate on the differences between arts and crafts, fine arts and applied arts, aesthetic requirements, and an example (19th Century French poster artist Jules Cheret).
1,125 words (approx. 4.5 pages), 4 sources, £ 27.95
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From the Paper
"The twentieth century's distinction between 'design' and 'art' derives from the sudden and overwhelming growth of technological innovation, and the commercial demand for applied design, during the Industrial Revolution of the nineteenth century. The primary distinction was between the so-called "high arts" of painting, sculpture and architecture, and "decorative or applied" design (Collins 17). This differentiation between art and design is sometimes perceived as an unfair elevation of art at the expense of design. Yet, so long as the distinction is based on such qualities as reproducibility, methods of production, or function, it is both valid and valuable. If, however, the differences between art and design are cited as criteria of aesthetic, or even moral, value, the distinction does not hold up, and is of little value to understanding either type ..."
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The State of Arts Education in New Jersey, 2005.
A look at the situation of arts education in New Jersey following the No Child Left Behind Act.
16,584 words (approx. 66.3 pages), 13 sources, MLA, £ 172.95
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Abstract
This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of American arts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper
"Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
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Art Education, 1996.
Criticizes lack of art instruction & examines alternative curricula, theories, methods & benefits from teaching visual art & art history.
2,025 words (approx. 8.1 pages), 6 sources, £ 49.95
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From the Paper
"The decline in arts education in American schools is due largely to incomprehension regarding the role this branch of learning plays in the intellectual and educational development of children. Knowing and learning in art are different from these same activities in other areas. This idea is slowly penetrating the education field -- and as the idea of many different kinds of 'intelligences' takes root it becomes clear that they are served by different disciplines. But the problem is not limited to the general public. There is also a great deal of confusion, even among arts educators, over such basic questions as what is to be taught, who is to teach it, and whether children acquire skills from it that have broader relevance. Research in art education is slowly developing a new rationale for its existence on the basis of evolving ideas in developmental and educational..."
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