| Papers [43-48] of 1888 :: [Page 8 of 315] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
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Theophilus Presbyter's Influence on Art History, 2008.
An analysis of the ways in which Theophilus Presbyter influenced later practices of other artists, particularly looking at his treatise, "On Divers Art."
2,144 words (approx. 8.6 pages), 10 sources, MLA, $ 67.95
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Abstract
This paper discusses the impact that Theophilus Presbyter's had on the course of painting history. The paper examines his origins and his stature as an impressive cataloguer of the preferred methods of his time as well as how he might very well have influenced the development of Jan Van Eyck's impressive body of work. The paper particularly explores how Theophilus influenced the later practices of other artists - from those working with wood in England to Renaissance masters to the notable Florentine painter, Nardo di Cione. The paper focuses on Theophilus' treatise, "On Divers Art."
From the Paper
"The importance of Theophilus's treatise can scarcely be exaggerated - at least if one is a scholar of medieval art. Specifically, On Divers Arts is widely regarded as the foremost treatise available on the painting, glass-making and metal-working arts of the Middle Ages; certainly, this the general view of John G. Hawthorne and famous medieval translator and historian, C.S. Smith, who make that bold proclamation on the cover pages of their 1979 text devoted to the path-breaking work of Theophilus Presbyter (for full bibliographic information, please see the reference list at the conclusion of this paper). In that respect, the aforementioned twelfth century work may rightly be described as not only pertinent to any understanding of medieval painting, but as the best resource available to modern-day students and scholars eager to learn more about how the panel paintings, stained glass masterpieces, and canvasses of twelfth century Europe were produced."
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Portraiture in Goya and Moroni, 2008.
A comparative analysis of Giovanni Battista Moroni's "Gian Lodovico Madruzzo" and Francisco de Goya's "Portrait of General Jose Manuel Romero".
1,322 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses how Giovanni Battista Moroni's "Gian Lodovico Madruzzo" and Francisco de Goya's "Portrait of General Jose Manuel Romero" exhibit a number of similarities and differences. It looks at how both paintings depict a similar type of subject in the same medium of oil on canvas as well as how, despite these similarities, the paintings are quite different in terms of style and the ways that the subject is shown. More specifically, the paper relates that Moroni attempts to show the personal side of his subject while still maintaining respectability. but Goya emphasizes the military and social role of his subject by minimizing his subject's surroundings and maximizing the subject's image within the framed portrait.
From the Paper
"The posing of each figure is also important and is closely related to their placement. The long robes of Moroni's subject are most effective in a standing subject. Here, he poses without implied action of any sort, allowing the long lines of the robe fabric drape naturally around his person. His hands are visible, with his left hand pointing slightly to extend the lines of his arm, again lengthening him within the canvas. Much of the positioning of the subject is done to improve his image within the painting. Much more simply, Goya's subject stands in a formal military pose with his right hand tucked into his sash. This very clear and simple pose does well to again emphasize Goya's ambivalence toward his subject as he attempts to paint him as he truly appears. "
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Symmetry in Islamic Art, 2008.
This paper explains how geometric concepts can be taught based on the symmetry found in Islamic art.
2,537 words (approx. 10.1 pages), 13 sources, MLA, $ 76.95
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Abstract
The paper looks at the extensive use of geometric and symmetrical patterns in Islamic art. The paper provides a definition of geometry and looks at translations, rotations and reflections in Islamic art. The paper then examines the mathematics of symmetry and how symmetry, as manifested in Islamic art, can be utilized to teach geometry in the contemporary classroom.
Outline:
Introduction
Symmetry in Islamic art, Part I
Symmetry in Islamic Art, Part II
Symmetry in Islamic Art, Part III
From the Paper
"Many civilizations have long used artistic designs for a variety of purposes. For instance, some civilizations have used artistic designs for emblematic purposes, while some have used artistic designs for ornamental and/or architectural purposes; still others, perhaps unsurprisingly, have used artistic designs for spiritual symbolism. Another thing that is not at all a surprise is that artistic designs almost invariably utilize mathematical concepts. Specifically, within the Islamic art tradition, there has long been the extensive use of geometric and symmetrical patterns - so much so that it may be put forward that one of the defining features of Islamic art is its ability to incorporate mathematical concepts and ideas in ways that are rich, vibrant and aesthetically pleasing."
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"The Entry of the Animals into Noah's Ark", 2008.
A review of Jan Brueghel the Elder's 1613 painting "The Entry of the Animals into Noah's Ark".
890 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
This paper looks at how Jan Brueghel the Elder's 1613 painting "The Entry of the Animals into Noah's Ark" has a playful attitude toward the fable of Noah's ark and how, by simply looking at this painting, it is easy to imagine this artist as secure in his Christianity and in his talent. It discusses how the painting is not critical of nature at all and how all its lush greenery and gorgeous animals demonstrate Brueghel's love of God's creations.
From the Paper
"There is also the matter of the camels, which seems to be draped with Arabic carpets. One of them has its head turned toward the viewer, as if ask a question. In my opinion, the question is generated by the carpets, indicating that a culture (Arabic) has already been formed and is doomed to be wiped out by the flood. The humorous quality of the camel's gaze suggests that this is historically improbably, because there is no reason to believe that an identical culture would spring up after Noah's family repopulates the Earth."
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George Braques' and Analytic Cubism, 2008.
An analysis of the role and influence of George Braques in the Cubist movement.
847 words (approx. 3.4 pages), 3 sources, MLA, $ 30.95
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Abstract
This art study analyzes the premise of George Braques' role in the creation of analytic cubism within the Cubist movement of the early twentieth century. It shows how Braques brought forth a popularization of the Cubist movement alongside Pablo Picasso to generate conceptual and simultaneous perspective on cubes, which had made a great impact on the success of the overall movement.
From the Paper
"This was the major influence that Braques had in conjunction with Picasso, forming a new style of painting that had become far more conceptual than anything done before. Although certain forms of cubism did use a various geometric patterns in a one-dimensional application, Analytic Cubism was created by Braques in order extend the way that Nature often depicted objects in the human mind, rather than from externally inspired perceptions that may be seen by the eye. Braques played an integral part in learning to see objects within his mind's eye, which would translate into various still life objects found in his works. In this manner, his painting describe the way and manner in which he played a crucial role in how cubes were to be conceptualized in a simultaneous perspective."
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The Harlem Renaissance and "Negro Art", 2008.
This paper explores the concept of "Negro Art" from the Harlem Renaissance period by analyzing the philosophies of two of that movement's central leaders.
1,440 words (approx. 5.8 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper discusses the philosophies of three leading figures of the Harlem Renaissance--Langston Hughes, George Schuyler and W.E.B. DuBois. The paper describes Langston Hughes' "The Negro and the Racial Mountain" in which he attempts to prove that the desire to not be associated with a specific ethnic class is tantamount to racial self-hatred. The author then explains that George Schuyler in his "The Negro Art Hokum" argues that African-American artists are not some sort of unified bloc and that the imposition of subject matter and style is belittling and racist. Next, the author of the paper applies the conclusions of Hughes and Schuyler to two paintings by Beauford Delaney, a prominent painter of the Harlem Renaissance. The paper concludes that the fairest and most logical approach to the study of "Negro Art" lies somewhere between Langston Hughes and George Schuyler.
From the Paper
"Another of Delaney's works that highlights the necessity of forming a compromise between Hughes' and Schuyler's contrasting theories on art is his famous pastel drawing of James Baldwin, the American writer and novelist. Although the two were close friends, Delaney does not attempt to transmit, through his strokes, a sense of his love of and appreciation for Baldwin. Had he wanted to do that, he surely would have created a different portrait than the eerie, anxiety-riddled, and yellow-hued portrait that he actually made."
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