https://www.echeat.com/ Potential Cross-Cultural Challenges for the Renault-Nissan Alliance Student's Name Institution Subject Professor's Name Date Potential Cross-Cultural Challenges for the Renault-Nissan Alliance Introduction The growth in international trading and competition has led to several companies getting into mergers and acquisitions to operate as one and enhance their competitiveness. One such arrangement happened between Renault, Nissan and Mitsubishi that had their headquarters in France and Japan. These automobile manufacturers were among the leading players within the industry, yet they came together to create a niche in the market and become more competitive. Their alliance in 1999 has enabled them to command substantial market share to attain short-term and long-term sustainability. However, the alliance's success depends on explicit consideration of the local and global impact, local practices, and cultural boundaries from one country to another (Song, 2018). The human resource managers of such firms bear the burden of ensuring cultural compatibility and efficacy (Forster, 2017). Accordingly, Renault CEO, who has taken over the top job at Nissan, must ensure smooth integration of the two cultures (French and Japan) to overcome possible cultural differences that may cause internal conflicts and distract stakeholders from focusing on the organizational goals. Potential Cultural Challenges As Renault CEO takes over Nissan, there are few cultural challenges that the entity is likely to face and should devise ways to overcome them. To understand the potential differences, one must understand the prevailing cultural conditions in Japanese organizations (Miroshnik, 2013). Japan is one of the countries that operate with an ancient and complex culture (Powell, 2016). The country's unique culture that organizations have manifested as they manage human resources includes lifetime employment and enterprise unionism (Powell, 2016; Hirosuke, 2017). Most organizations within the Japanese culture employ vigorous TQM systems that involve bureaucratic decision-making, while their employees remain largely loyal to entities while the long working hours make it difficult for women to advance career-wise (Powell, 2016, Karapetrovic, 2010). Accordingly, a major challenge in managing the culture would be creating a gender-equality culture in assigning roles, a major aspect in the Globe theory (Carolina, 2019). Besides, there is a significant problem in communication channels and approaches that Renault CEO would face while operating in Japan. There are also potential challenges in assigning roles to executives and designing promotional strategies. Thus, Renault CEO should deeply compare the two nations to decide on the best approaches to address cross-cultural differences. Applying Different Theories to Ensure Smooth Cultural integration between French and Japanese 2021-04-22T10:26:45.987-04:00 http://75.150.148.189/free-essay/Potential-Cross-Cultural-Challenges-for-the-Renault-Nissan-Alliance-45509.aspx Art History: Compare and Contrast Temple of Ramses II and Parthenon The temple of Ramses II and Parthenon are two well known architectural structures in the art history of Egypt and Greek respectively. The great temple of Ramses II is a rock-cut situated within the ancient Ybsambul or Wawat, in Nubia adjacent to the Sudan border, which is approximately three hundred kilometers from Swan. Initially, the great temple was carved out from the mountain rocks right on the west bank of the river Nile in between 1274 BC and 1244 BC, identified as of Abu Simbel complex. It was dedicated to the defined Ramses II as Ptah, Amun, and Horakhty, though Ptah was kept in darkness because it was an underworld-associated god.1 The temple of Ramses II is artistically designed with four large statues of Pharaoh of the New Kingdom dynasty of ancient Egypt on the front.3Parthenon temple is the dominating architectural structure on the Acropolis hill, in Athens. The temple was named Acropolis after the hill. The temple was initially constructed in the mid of 5th century 490BCE after which it was dedicated to Athena Parthenos, the then Greek goddess.2 As a great architecture in the art history and most visited archeological divine site in Greece, the temple of Parthenon is regarded as a symbol of the culmination of the Doric order development, which is the simplest in form of the three main classical order of the Greek architecture.4 In other words, being architectures built and archived in a common ancient period in the art history, the temple of Ramses II and Parthenon have certain similarities as well as differences in terms of artistic and sculpture makings in the features. Therefore, this paper compares and contrasts the temples of Ramses II and Parthenon by identifying and analyzing both the artistic differences and similarities between them ever observed in the art history. Comparison To compare, both of the temples of Ramses II and Parthenon are probably some of the most famous in the ancient complexes of Egyptian and Greece religions. Both temples of Ramses II and Parthenon were constructed at the onset of civilizations, which started at around the same times. For instance, the construction of temple of Ramses II begun very early in the rein of Ramses II, that is, by 2019-02-17T09:07:39.87-05:00 http://75.150.148.189/free-essay/RAMSES-AND-PARTHENON-45475.aspx Annotated Bibliography of the Analects of Confucius Confucius is a Chinese philosopher who campaigned for education for all, rejecting the kind of system where only the ruling class underwent learning during the era of the warring states in native China. This man was known as Kong Qiu of Shandong Peninsula. His ideas were drafted by his disciples in the form of passages referred to as the Analects of Confucius. The passages describe the man Confucius and recount some of his life ordeals and his thoughts on subjects like education and leadership. The Analects convey philosophy based on educational, leadership and moral issues. This paper is an annotated bibliography of Analects of Confucius. Tan, Charlene. "Beyond ‘either-or’ thinking: John Dewey and Confucius on subject-matter and the learner." Pedagogy, Culture & Society 24.1 (2016): 55-74. The article is a comparison of how John Dewey and Confucius think about education by looking at the nature of and relationship between the subject-matter and the learner. The author draws the analysis from the current literature that the two philosophers have different views on education. In the existing research, Tan notes that Dewey is projected as an advocate for the child-centered education while Confucius gives a privilege to the subject-matter that is provided through texts (55). However, this article asserts that both Dewey and Confucius rejected both subject-matter or child’s thinking but emphasize on the importance of both the subject-matter and the learner and direct that the teachers have to direct the learning through the integration of appropriate content into the learner’s total experience. The article highlights the modern relevance and the implications of the views of Dewey and Confucius on education in the promotion of student-centered learning. Tan posits that the comparative study of these two philosophers is incongruent due to their existence at very different periods, and the distinct cultural and philosophical backgrounds (55). While Confucius lived over two-hundred years ago, the American Dewey existed between 1859 to 1952 (55-56). Dewey was nicknamed the second Confucius at the time when he was a tutor in China. He used the term subject-matter to denote the content given to the students. The article uses learner, not student, to fit the context of education at the time of Confucius. The position that Dewey took is based on his observation in the nature of human beings who like to think in the manner of extreme contradictions by forming their beliefs of “either-or,” and 2017-12-15T06:34:27.7-05:00 http://75.150.148.189/free-essay/Annotated-Bibliography-of-the-Analects-of-Confucius-45409.aspx Name Instructor Course Code Submission Date Architecture Background Information Even today, the Colosseum, Chartres Cathedral, and the Stepped Pyramid of King Djoser are hugely impressive. Not only are these artworks among the greatest achievements in the architectural history but they are also well preserved in their original state and design. For instance, Lautier (123) acknowledges that the Chartres Cathedral employs all of the structural aspects of Gothic architecture as it is celebrated for its sculptures and stained-glass windows. Similarly, the Colosseum of Rome has not been left behind, it stands out glorious due to the fact that its construction differed with most of other artworks in the world since it was built using the classic model (Elkins 76). On the other hand, Stepped Pyramid of King Djoser is no different since it also has a rich history that makes it one of the most famous monuments left from the Ancient Egypt which still enthralls people in today’s world (Madkour 65). This implies that the Colosseum, Chartres Cathedral, and the Stepped Pyramid of King Djoser possess similarities and differences in terms of their construction, design, and uses. Objective of the Study The purpose of the study is to compare and contrast these three artworks including the Colosseum, Chartres Cathedral, and the Stepped Pyramid of King Djoser to reveal their differences and similarities evident in their uses, design, and construction. The Scope of Study This study will review the literature of previous works done on the Colosseum, Chartres Cathedral, and the Stepped Pyramid of King Djoser. Then, the current information relating to these artworks will be analyzed to elucidate their present states to reveal their similarities and differences and how they are used today. Methodology A systemic study will be conducted by reviewing the articles and publications that relate to the Colosseum, Chartres Cathedral, and the Stepped Pyramid of King Djoser. The literature review will be carried out using electronic searching strategies by applying relevant keywords in electronic databases such as PROQUEST, EBSCO, and JASTOR. Works Cited Elkins, Nathan T. "The Procession and Placement of Imperial Cult Images in the Colosseum." Papers of the British School at Rome. (2014): 73-107. Print. Lautier, Claudine. "The West Rose Window of the Cathedral of Chartres." Arts of the Medieval Cathedrals / Ed. by Kathleen Nolan, Dany Sandron. (2015): 121-133. Print. Madkour, Fatma S, and Mohamed K. Khallaf. "Degradation Processes of Egyptian Faience Tiles in the Step Pyramid at Saqqara." Procedia - Social and Behavioral Sciences. 68 (2012): 63-76. Print. 2017-03-23T02:01:41.98-04:00 http://75.150.148.189/free-essay/Research-proposal-Architecture_Imhotep-Stepped-Pyramid-of-King-Djoser_Colosseum,-Rome_Chartres-Cathedral-45300.aspx 2014-07-21T19:38:25.897-04:00 http://75.150.148.189/free-essay/Leonardo-Da-Vinci-A-Modern-Man-35047.aspx 2013-04-26T23:06:24.87-04:00 http://75.150.148.189/free-essay/An-essay-about-Daniel-Seagle-s-Pottery-34867.aspx Role of women in this modern world and India especially is a real paradox. On one hand she has reached unattained heights of success in terms of profession, entrepreneurship, social status and education, while on the other she has become a vulnerable target of violence from the society including her own family members. The modern Indian women have honed their skills and jumped into a battlefield of life fighting 2012-05-18T03:19:52.783-04:00 http://75.150.148.189/free-essay/Role-of-women-in-modern-India-34566.aspx This essay discusses the ways in which several contemporary artists have dealt with war in their artworks. I Introduction Art has always been a legitimate means of expressing the artist’s views on current events, politics, and the government. In some cases, art has spoken out with tremendous power, as in Pablo Picasso’s classic anti-war mural “Guernica.” Art has proven to have an important voice in the public arena, though that voice is not always comfortable to listen to. This paper examines some contemporary art that deals with war. I’ve chosen this subject because it’s rather on everyone’s mind right now, and a true consideration of the horrors of war might be useful in order to remind everyone just what’s at stake. II The Works I mentioned “Guernica,” which of course is Picasso’s devastating depiction of the Spanish Civil War, painted in 1939. The painting is too early for our consideration, but it leads into the Second World War, and the Holocaust. The Holocaust is one of the most horrific events in human history, and it continues to hold a terrible fascination for us. Chicago artist Pearl Hirshfield in an “installation artist” who, in 1989, created an artwork that she hoped would allow visitors to understand and feel what it must have been like for those who were being taken to the death camp at Auschwitz. An “installation artist” creates a total environment; a walk-through exhibit, rather than a painting or photograph. In Hirshfield’s case, she has tried to recreate the feeling that people might have had as they were rounded up and herded onto the trains to the concentration camps. Her exhibition is on-going; the first reference I found to it was 1989, when it was described thusly: “At the entrance to “Shadows of Auschwitz” … Hirshfield places a quote by Primo Levi. ‘Beyond the fence stand the lords of death, and not far away the train is awaiting…’ This sets the physical and emotional mood … The spectator is drawn into a darkened interior space, where the artist makes use of an array of vertical mirrors to effect dramatic changes in light and shadow … The “height” of the experience awaits the viewer at the other side of the fence, where he encounters his own reflection with numbers across his body. The numbers are the actual Auschwitz numbers …” (Shendar, PG). It is Hirshfield’s intent, and 2011-10-31T00:29:15.407-04:00 http://75.150.148.189/free-essay/Contemporary-Art-and-Political-Views-34230.aspx This essay examines the representation of women in three paintings Munch’s Vampire, Moreau’s Oedipus and the Sphinx, and Regnault’s Salome. I Introduction Art is one of the most subjective of human activities. We may think a painting is superb while the person standing next to us thinks it’s dreadful. That’s why no two people will describe a work of art in the same way; that’s also why art is endlessly fascinating. This paper looks at three 19th Century paintings of women, and compares and contrasts them. (There are quite a few discussion points given; I’m not going to repeat them here.) The three paintings are all of powerful, seductive, perhaps even evil, women: Moreau’s Oedipus and Sphinx; Regnault’s Salome; and Munch’s Vampire. II The Works Let me briefly describe the works, then simply answer the questions about them. The first is Moreau’s Oedipus and the Sphinx. The context of the painting is the myth of Oedipus, who must answer the Sphinx’s riddle or die. He answers successfully, and she throws herself from the cliff in mortification. The Thebans are so grateful that they make him king, which leads to tragedy. But the horrible events that are familiar to us from the plays are in the future. In this painting, which is the most disturbing of the three, the Sphinx is clinging to Oedipus. The creature has the head and breast of a woman, the body of a lion and the wings of an eagle, and her back feet are braced against Oedipus’ torso while her front paws/hands clutch his chest. He doesn’t appear to be supporting her at all. We can’t see his right hand, but he holds his spear with his left, so it appears that she is clinging to him. She appears to be perhaps 4-5 feet tall—not the fearsome lion of the legends. The two are gazing into each other’s eyes and seem very much like lovers. At the bottom of the picture are a naked foot and a gnarled hand; apparently the body or bodies of the Sphinx’s previous victims. Salome by Henri Regnault is a very unusual treatment of the subject. We often see her with the head of John the Baptist, or doing the infamous dance, but Regnault has depicted her, as Moreau did with Oedipus, before the events that 2011-10-27T13:28:49.283-04:00 http://75.150.148.189/free-essay/The-Seductress-Women-in-Art-34185.aspx This essay compares Rembrandt’s Self-Portrait with his portrait of Nicolaes Ruts. I Introduction Rembrandt’s work is fascinating not only for its technical excellence and astonishing power, but for the way in which we can trace changes in the artist’s style over the years. This paper considers two of his works, a self-portrait and a formal commissioned portrait, and compares them II Self-Portrait The subject of the self-portrait is of course Rembrandt himself. He painted it when he was 52, but he seems older. His treatment of himself is unflattering, and he has chosen to accentuate deep creases in his skin, particularly above his cheekbone, on his cheek, and near his mouth. They almost look like scars rather than the natural wrinkling of aging skin, because they are in an odd location. In addition, the crease running from the corner of his nose to the corner of his mouth is deep and pronounced. It’s as if he’s painted himself as he sees himself in 10-15 years, not as he is at present. This is a very old 52. His pose is natural: he is turned very slightly to the left, but faces the viewer straight on, gazing into our eyes. It’s impossible to tell whether he’s standing or seated; the position of his right arm seems to indicate that he’s resting it on the arm of a chair, but his legs are not bent. Perhaps he’s leaning against a support. At any rate, the fingers of his right hand are slightly flexed. He’s not holding anything, but neither is he completely relaxed. He holds some sort of thin rod or staff in his left hand, but the grip is casual; he’s not gripping it tightly. That is the only “prop” in the painting. Although Rembrandt was poor, he has depicted himself dressed in sumptuous fabrics. He has a dark cloak over his shoulders, and his gown or robe is a rich golden color, tied with deep scarlet bands. The rod in his right hand seems almost like a royal scepter, and his apparel suggests that he is a wealthy nobleman. Perhaps he was painting himself as he wished to appear, not as he was. His facial expression is difficult to describe, but it projects an overwhelming feeling of world-weariness and cynicism. His mouth is compressed into a thin, straight line, but there 2011-10-27T13:23:29.41-04:00 http://75.150.148.189/free-essay/Compasrison-Essay-on-Rembrandt-Self-Portrait-and-Nicolaes-Ruts-34181.aspx This paper examines one of Monet’s landscapes, and relates it to an observation by Charles Baudelaire. I Introduction Impressionism is a style of painting in which the artist seeks to create an “impression” of what he sees; it is not a literal rendering. Impressionist works have a “dreamy” quality that comes from the hazy aspects of the paintings: light dances on water; haystacks shimmer in the sun; the houses of Parliament are wrapped in fog. “The impressionists … used bright, unmodulated colors, applied in bold, irregular brush strokes on a light-tinted canvas. Their deft application of paint created the appearance of spontaneity, as if their images were captured in a single moment.” (“The Impressionists at Argenteuil,” PG). The paintings in general are very well-liked, and Monet is probably the most popular of all the Impressionists. These works were often considered “quick studies” for more complex paintings that the artists would complete later in their studio. Monet was the first to exhibit these so-called “sketches” as finished works. (Claude Monet Jigsaw Book, p. 1). This paper examines one of Monet’s works, “The Poppy Field.” II “The Poppy Field” “The Poppy Field” is Monet’s impression of a summer’s day in Argenteuil. The thing that strikes the viewer first about the painting is the composition. The trees at the left provide a strong vertical contrast to the sweeping field of flowers that makes up the rest of the picture; in addition, their deep green leaves make a strong statement when compared to the field grasses. The grasses themselves appear as a light brown, with some green, almost as if they were drying out. The poppies of the title are no more than a half-dozen spots of bright red color near the center bottom of the composition. Finally, the sky appears in various shades of the hazy blues one sees in summer; it is filled with white, fluffy clouds. Monet has constructed the work so that the trees and the ground “frame” the sky. Although the field takes up the largest part of the canvas, its darker hues cause it to recede, while the white in the clouds brings them forward. The medium field and the dark trees draw the viewer’s eye first to the sky. From there, the eye travels to the left, down the trees, and only then 2011-10-26T23:22:37.79-04:00 http://75.150.148.189/free-essay/Monet-The-Poppy-Field-34155.aspx Since the 1920s, a certain view regarding meaning in art has dominated the Anglo-American universities and became almost dogma. This viewpoint insists that works of art should primarily be understood by how minds receive them rather than by the psychology that created them. Such an understanding of meaning in art essentially relegates the artist to just another interpreter of his or her own artwork. For this reason Roland Barthes famously proclaimed ‘the death of the author’. To refer to the artist’s intention was to naively refer to the unknowable and to place unnecessary limitations on the wealth of possible readings of the artwork. Intention was seen to stifle the work. Adrian Searle in the Guardian once referred to Tony Cragg’s sculptures by enthusing, ‘Finally freed from the artist’s ideas and fantasies of intention, all the conceits that made its existence possible, including the fundamental act of making, the work floats freely, emerging from a kind of blindness’ (1). In contrast, a group of artists have surfaced who share the belief that the author is alive and well and able to communicate their intended meaning to their intended audience with a degree of accuracy sufficient for them to be pioneers in society, helping to shape what will be, rather than merely documenters of society, recording what is and was. We believe that to consider the artist’s role as anything less is to effectively gag the artist, or simply drown the artist’s intended meaning in a cacophony of conflicting interpretations. We have become known as Intentists and we claim that ‘All meaning is simply the imperfect outworking of intention.’ What follows is a brief outline of this position and its importance. A: What is intention? At the heart of Intentism lies a particular understanding of the role of ‘intention’ in the process and understanding of art and literature. In fact, for Intentists, artwork cannot have any meaning divorced from realised or accomplished intention. In order to better understand the role of intention we shall first seek to define it according to what it is and is not, beginning with the latter. So firstly, what is intention not? 1. Intention is not always conscious. For example, when the phone rings my intention to answer it is not always a conscious one. 2. Intention is not simply belief. I may believe I will fail my driving test without intending to. 3. Intention is not a plan. 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These wall paintings, or murals, have themes relating to the Old Testament. This mural was painted with tempera on plaster around 245-246 CE. It was found in the Synagogue at Dura-Eurepas, Syria and a reconstruction of it can now be found in the National Museum in Damascus. The statue of Christ depicts him in his youth. He is wearing clothes of Romans at the time: the artist’s intended audience, thus making the figure in the statue one that could be related to by the Romans. He is wearing the Roman tunic, toga, and sandals. In his left hand, he holds an unopened scroll. His head is one of a long-haired Appolo-type youth but his statuary type is more like the bearded Roman philosophers of advanced age. This 2’4” tall statue was made with marble around 350-375 CE in Civita Latina, Italy. It can now be found in the Museo Nazionale Romano in Palazzo Massimo alle Terme, Rome. The next piece is that of the interior of Santa Costanza. The dome shape and columns within the church were designed to focus all attention on the tomb in the center and make the viewing of it accessible from all angles. This church was built around 337-351 CE and stood next to the Satterwhite 2 basilican church of Saint Agnes. It is believed to be originally built as a mausoleum Constantina, who was emperor Constantine’s daughter. The mausoleum was then converted into a church. This piece is of the “Miracle of the loaves and fishes”. The artist portrays Jesus with open arms holding bread and fish to present the miracle of him offering food, and thus the survival to the masses which stand behind him. This mosaic was created in 504 CE and is found in the top register of the nave wall of Sant’ Apollinare Nuovo in Ravenna, Italy. Jesus is portrayed wearing the imperial dress of gold and purple. The artist places much detail in the holy character of the event rather than specifics of what is actually happening in the picture. This next piece is a picture of the interior Hagia Sophia. The superior architecture and design of it reveals the immense 2008-12-14T02:18:15-05:00 http://75.150.148.189/free-essay/Roman-Art--33911.aspx Romanticism “Each night, Leander would swim across a stretch of sea to meet his lover Hero, a priestess of Aphrodite. She would guide him by holding up a torch. One night, during a storm, Leander drowned. The grief stricken Hero threw herself from a tower. Here, the two dead lovers are shown in their tragic final embrace as their lives drift away” (Butler, Van Cleave, Sterling 152) This is the typical semblance of art in the romantic era portrayed by William Etty, one of many artists of this time. Often portraying bold single emotions such as fear, true love, desolation and victory, many romantic artists used natural colors and flesh/ naturalistic tones as well as flowery words to show the reality of emotion. Driving away from portrayals of religion and history, realistic scenes were shown through sculpture, painting, poetry and other media’s. Romanticism began at the beginnings of the eighteenth century with visual artists such as Jacques-Louis David and Thomas Gainsborough as well as literary artists such as William Wordsworth who looked to create a new kind of poetry emphasizing on perception over reason and William Blake, writer of The marriage of Heaven and Hell. The romantic era began as a reaction against the intellectualism of the Enlightenment, a philosophical movement in the 18th century focusing on religion and politics, against the inflexibility of social structures protecting privilege, and against the ever growing materialism budding in people of the eighteenth century. Unlike other movements, such as classicism, the romantic era had no visible boundaries; the theory was that people needed to be free to divulge their deepest emotions, express their inner imagination and move away from the strict attitudes previously exemplified. In an essence, the romantic era was a very emotional, expressive, quiet rebellion. In the United States, one of the most popular literary artist was Edgar Allen Poe. Poe is known as the creator of the short story as well as the detective story. Poe focused greatly on creating one great emotion in his stories be it fear, horror or distress. He wrote numerous short stories, a few examples being The Tell Tale Heart, The pit and the Pendulum as well as Diddling. Another great literary artist of the Romantic era was Johann Wolfgang von Goethe. Goethe was born in Germany where he remained until he passed leaving behind many great writings such as the novel The Sorrows of Young 2008-09-04T23:36:32-04:00 http://75.150.148.189/free-essay/Romanticism-1800-1850-33682.aspx The Romantic Movement spread from art into literature and philosophy. It emphasized emotional, spontaneous and imaginative approaches. In the visual arts, Romanticism came to signify the departure from classical forms and an emphasis on emotional and spiritual themes. Caused by the sudden social changes that occurred during the French Revolution and the Napoleonic era, Romanticism was formed as a revolt against Neoclassicism and its emphasis on order, harmony, balance, idealization, and rationality. Romanticism began in Germany and England in the 1770’s, and had spread throughout Europe by the 1820’s. Not long after, its influence had spread overseas to the United States. The movement focused on imagination, emotion, and freedom by way of subjectivity and individualism. Artists believed in spontaneity, freedom from boundaries and rules, and 2008-09-04T23:36:03-04:00 http://75.150.148.189/free-essay/Romanticism-1800-1850-Part-Two-33681.aspx Has violence in children’s sports finally gone too far? 2) With children viewing lots of sports either live or on television and witnessing the violence, they develop what is social learning. Social Learning Theory asserts individuals will observe those they have a fascination with and those who they can identify with. Therefore, kids who observe much aggression are more likely to model their own athletic ideals after what they watch over a period of time, especially if they “want to be” like their sport’s hero. If it’s not sports they get it from, they can get it from simulated sports through video games. 3) The third reason violence has escalated is too many parents encourage it and even condone it. Let’s face it. No parent wants to watch their child be made a fool of by another child during the course of a competition. Some parents take their child aside and actually encourage them to “go and get even”. And some parents heckle other children from the stands during the course of a game and this threatens the egos of those parents who child is being made fun of and rather than ignore the problem, they take care of it physically. 4) The fourth reason violence and aggression has escalated in children’s sports is too many parents are vicariously living out their sporting dreams through their children. Some wanted to play professional sports so badly, but they lacked the skills. Guess what? They have a child who plays the same sports they did, or a child they coerced into the sport and now they are going to make that child a superstar! More pressure is placed on the child to succeed and too much pressure leads to stress and frustration which often times spills over into anger management problems. Well sport’s fans, just some ideas to ponder. Just remember, the reason children were enrolled in sports was to have fun, stay healthy and learn team work and disciplinary skills. The scary thing is that some parents are actually undermining their own best intentions! Sports violence” has been defined as behavior which causes harm, occurs outside of the rules of the sport and is unrelated to the competitive objectives of the sport. The issue has arisen in the context of the criminal justice system for several reasons. First, reports of sports violence are occurring more frequently, especially with the prolific use of 2008-07-23T07:39:51-04:00 http://75.150.148.189/free-essay/Violence-in-Childrens-Sports-33641.aspx Explain the Abstract Expressionism Movement. Introduction Abstract Expressionism was an American post-World War II art movement. The World War led many influential European artists to leave their war torn countries to travel to America. This led to a dramatic increase in the exposure American artists got to European Modernism and other art movements such as Surrealism and Dada, which where the main influences to the movement. The art movement received its name from the combination of the emotional intensity of the German Expressionists and the anti-figurative design of certain European Abstract art schools. The name was mainly applied to the artists working in New York in the 1940-50’s, also sometimes called the ‘New York School’, and was first used to define American art in 1946 by the art critic Robert Coates. However, the name was applied to artists who had quite different styles, and was even applied to work which is not especially abstract nor expressionist. Despite the huge diversity of Abstract Expressionism, the movement can be split into two main catagories, Action painting and Colour Field painting. Action painting, sometimes called "gestural abstraction", is a style of non-representational painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied. The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist. In contrast, Colour Field painting is characterized by canvases being covered entirely by large fields of solid colour. Abstract Expressionism was the first specifically American movement to achieve worldwide influence and also put New York City at the center of the art world, a role formerly filled by Paris. Jackson Pollock The youngest of five sons, Pollock was born in Cody, Wyoming in 1912, and grew up in Arizona and California, studying at Los Angeles' Manual Arts High School. In 1930, following his brother Charles, he moved to New York City, where they both studied under Thomas Hart Benton at the Art Students League. Pollock was introduced to the use of liquid paint in 1936, at an experimental workshop operated in New York City by the Mexican muralist David Alfaro Siqueiros. He later used paint pouring as one of several techniques in canvases of the early 1940s, such as "Male and Female" and "Composition with Pouring I." In October 1945 Pollock married his long term lover Lee Krasner and in November they moved 2007-11-11T08:25:15-05:00 http://75.150.148.189/free-essay/Abstract-Expressionism-33409.aspx Maurits Cornelis Escher Biography M.C. Escher was a Dutch graphic artist, most recognized for spatial illusions, impossible buildings, repeating geometric patterns (tessellations), and his incredible techniques in woodcutting and lithography. M.C. Escher was born June 1898 and died March 1972. His work continues to fascinate both young and old across a broad spectrum of interests. M.C. Escher was a man studied and greatly appreciated by respected mathematicians, scientists and crystallographers yet he had no formal training in math or science. He was a humble man who considered himself neither an artist or mathematician. Intricate repeating patterns, mathematically complex structures, spatial perspectives all require a "second look". In Escher's work what you see the first time is most certainly not all there is to see. We at the World of Escher are proud to be here to tell you stories, discuss M.C. Escher's works, provide insight, and offer our high quality products promoting the intriguing work of Escher. If you already know of Escher and his work you'll have a great time just looking around, otherwise it's time to get ready to explore a world as fascinating as the Internet; The World of Escher! Along with discussions on Escher we have also included ideas and readings regarding Professor Roger Penrose and his mathematically based puzzles. Maurits Cornelis Escher, born in Leeuwarden, 17 june 1898, received his first instruction in drawing at the secondary school in Arnhem, by F.W. van der Haagen, who helped him to develop his graphic aptitude by teaching in the technique of the linoleum cut. From 1919 to 1922 he studied at the School of Architecture and Ornamental Design in Haarlem, where he was instructed in the graphic techniques by S. Jessurun de Mesquita, whose strong personality greatly influenced escher's further development, as graphic artist. In 1922 he went to Italy and 1924 settled in Rome. During his 10 year stay in Italy he made many study-tours, visiting Abruzzia, the Amalfi coast, Calabria, Sicily, Corsica and Spain. In 1934 he left Italy, spent two years in Switzerland and five years in Brussels before settling in Baarn (Holland) in 1941, where he died on march 27, 1972, at the age of 73 years. In 1913, M.C. Escher met his lifelong friend Bas Kist in religious school (which he attended at his parent's direction, even though he wasn't very religious). Kist was also interested in 2007-04-19T21:18:54-04:00 http://75.150.148.189/free-essay/Maurits-Cornelis-Escher-Biography-33052.aspx Gothic Art And Architecture During the past week or so our group has been doing a research assignment on Gothic art and architecture. In the following paragraphs we will be discussing Gothic art and architecture, the Rayonnant Gothic period, and sculpture. From about 1140 to the end of the 16th century religious buildings, stained glass, and illuminated manuscripts and other decorative arts came to be known. Architecture was predominant in this period. At the beginning of the second half of the 12th century, the creation of large cathedrals in northern France, took full advantage of Gothic vaults. Vauts with intricate patterns are the main architectural ornamentation. With the Gothic vault, a ground plan could take on a variety of shapes. The general plan of the cathedrals, however, consisting of a long three-aisled nave intercepted by a transcript and followed by a shorter choir and sanctuary, differs little from that of Romanesque churches. A cathedral is a church of the Bishop. It must be the largest, finest and most richly adorned in the district. Mainly they are figures of people, animals, plants, scenes from the Bible, figures of saints, and representations of virtues. Next, during the long riegn of Louis IX, from 1226 to 1270 Gothic architecture entered a new phase, know as the Rayonnant. The word Rayonnant comes from that of a raidiating spokes, like those of a wheel, especially of the enormous rose windows that are one of the features of the style. Also, height was no longer the prime objective. The architects reduced the masonary frame of the churches, expanded the window areas, and replaced the external wall of the triforium with traceried glass. In most cases, all these features of the Rayonnant were incorporated in the first major undertaking in the new style, the rebuilding of the royal abbey church of Saint-Denis. However, of the earlier structure only the ambulatory and the west facade were preserved. In the evolution of the Gothic architecture the progressive enlargement of the windows was not intended to shed more light into the interiors, but rather it provided an increasing area for the stained glass. Flamboyant architecture originated in the 1380's by 2007-04-19T21:17:18-04:00 http://75.150.148.189/free-essay/Gothic-Art-And-Architecture-33051.aspx Observations Of "The Temptation Of St. Anthony" Salvador Dali is a master painter who has honed his abilities in the arenas of style, technical skill, representation, realistic rendering, concept, and thus, above all else, surrealism. His method and motivation, surrealism, he defined as the effort to take implausible situations, ridiculous ideas, the grotesque, and translate them in a manner that suggested their reality. This idea is something for which Dali came to be known. A great example of his surrealistic efforts and his master’s skills is painting called "The Temptation of St. Anthony." There are many aspects to this painting that identify with the idea of the surreal and indicate extreme skill in technicalities and concept. First, look at how surreal the painting is. Look at it, and for a second take time to recognize how grotesque the images Dali has rendered are. Don’t you feel the overpowering size of these long legged beasts bearing down upon you? Don’t you feel the strain through which St. Anthony is going? The idea of long legged horses and elephants, isn’t it rather implausible, rather surreal? Dali puts the beholder in a world that he has created, bearing qualities over which he has all the power. This makes this work surreal. The narrative of the painting could not take place in the world that we know because there are no such long legged beasts to impose upon us their force. But notice too, then how the surrealism is achieved. Dali attains a truly surreal world with his technical skill and his realistic rendering of a grotesque concept. Another very successful aspect of this then painting is the technicalities of brushwork and the actual application of paint. His ability to render is paramount and it is the skill with which he does the actual painting that makes this and other paintings everything they are. Dali has an extreme sensitivity to the intricacies of realism with pinpoint accuracy about detail and brushwork. His brush strokes are literally invisible and his lines are so cautiously selected and applied that his paintings seem like photographs of some strange world. Outside brush strokes and line, his work , particularly "The Temptation of St. Anthony," exhibits an extreme sensitivity to the ideas of color and light. The sky is a great example. His hues are of 2007-04-18T02:30:07-04:00 http://75.150.148.189/free-essay/Observations-Of-"The-Temptation-Of-St_-Anthony"-32965.aspx Georgia O’Keeffe was born on November 15, 1887. She was the second of seven children. Georgia didn’t grow up with just her mom and dad; her aunt mostly raised her. Georgia did not care much for her aunt though; she once referred to her as, “the headache of my life.” She did although have some respect for her aunt and her strict and self disciplines way of life. Georgia grew up spoiled; she did very little around the house and always wanted things her way. At a young age Georgia began taking private 2007-04-18T00:19:48-04:00 http://75.150.148.189/free-essay/Georgia-O-keefe____very-short-teacher-only-wanted-300-words-32929.aspx Expressionism in Vincent van Gogh’s Starry Night Vincent van Gogh was born on March 30, 1853 in Zundert, a village in the southern province of North Brabant. He was the eldest son of the Reverend Theodorus van Gogh and Anna Cornelia Carbentus. At the age of 16 he started work at the Hague gallery of the French art dealers, in which his uncle Vincent was a partner. Vincent was dismissed from the firm at the beginning of 1876. He then took a job as an assistant teacher in England, but disappointed by the lack of prospects he returned to Holland at the end of the year. He now decided to follow in his father's footsteps and become a clergyman. After a brief spell of training as an evangelist, Van Gogh went to the Borinage mining region in the south of Belgium. In 1879, however, his appointment was not renewed. After a long period of solitary soul-searching in the Borinage, Van Gogh set his sights on becoming an artist. His earlier desire to help his fellow-man as an evangelist gradually developed into an urge, as he later wrote, to leave mankind "some memento in the form of drawings or paintings - not made to please any particular movement, but to express a sincere human feeling." His parents could not go along with this latest change of course, and the financial responsibility for Vincent passed to his brother Theo, who was now working in the Paris gallery of Boussod the successors of Goupil & Co. It was because of Theo's loyal support that Van Gogh later came to regard his oeuvre as the fruits of his brother's efforts on his behalf. When Van Gogh decided to become an artist, no one, not even he himself, suspected that he had extraordinary artistic gifts. He evolved astonishingly rapidly from an inept but fervent novice into a truly original master. He eventually proved to have an exceptional feel for bold, harmonious color effects, and an infallible knack of choosing simple but memorable compositions. Initially Van Gogh lived at his parents' home in Etten, where he set himself the task of learning how to draw. At the end of 1881, he moved to The Hague, and there too he concentrated mainly on drawing. In late 1883, after a brief stay in the wilds of the moorland province of Drenthe, he went back to live with 2007-03-20T03:48:07-04:00 http://75.150.148.189/free-essay/Expressionism-in-Vincent-van-Gogh’s-Starry-Night-32848.aspx Art Critique of the Menil Collection On April 7, 2002, I visited the Menil Collection, the Cy Twombly Gallery, and Richmond Hall. I arrived at the Menil Collection at around 2:00pm and stayed until approximately 4:45pm visiting the three collections. As I drove to the museums, I was challenged with normal Houston traffic clutters, but nothing out of the ordinary. The weather was musty, full of humidity in the air with light sprinkling rain, and it seemed that it was about to start pouring outside but never did during my visit to the museum district. I was accompanied to the museum by a friend by the name of Jennifer, and I parked in the designated area for the Menil Collection behind the Menil Bookstore. The best part about the visit to the museums was that it gave me a chance to unwind. With a full time job and the tasks of a full time student on my back, it was enjoyable to be pulled away just to admire the beauty of the artworks free from everyday problems. I chose a piece entitled “L’onde” or otherwise known as “The Wave” by Gustave Dore. Gustave Dore was a French painter who lived from 1832 to 1883. The date of the oil on canvas painting was unknown. “The Wave” is a permanent part of the Menil Collection painted on a rectangular canvas 58 1/4 in. by 46 1/8 in. in height. I chose this piece because it was one of the pieces that stayed on my mind through the entire visit throughout the museums even after seeing all of the other pieces at the other museums. I really enjoyed the way the piece responded to my emotional side and I really liked the piece’s aesthetic representation of the ocean. I love the ocean and this piece really seemed to sooth some of the stresses of everyday life. I would love to have this piece in my home. “L’onde” was full of intense greens on top of browns to represent the moss and algae on the rocks and was glittering with the whites of the tide. The background was dark brown that seemed to fade into darkness as you looked to the top of the piece with a concentration of brightness on the whiteness of the tide crashing into the rocks. The oil on canvas painting was regular in its texture due to evenness of 2007-03-20T03:31:10-04:00 http://75.150.148.189/free-essay/Art-Critique-of-the-Menil-Collection-32841.aspx Michelangelo Buonarroti's Life And Attitude Renaissance artists expressed their ideas through various approaches and unique styles. To a certain degree, great works can be analyzed and depicted to reveal attitudes that its creators held toward life’s character. Michelangelo Buonarroti, creator of masterpieces such as David and the frescoes of the Sistine Chapel ceiling, is a great figure of the Renaissance worth studying. His character and influences in his life contribute to the changing moods depicted in his artwork and writings. “He worked during three quarters of a century of tremendous change in European Society, and as an artist was supremely responsive to the hopes, fears, and values of his culture, which he both exemplified and defied” (George Bull, Michelangelo: A Biography [New York, 1995] front flap). Throughout the course of Michelangelo’s life as an artist, the evident changes observed in his works between his novice and aging years reflected the transformation that took place in his mind. Michelangelo’s “three fathers” played major roles in the guidance of his artistic achievements as well as personal developments. First, Lorenzo de’ Medici gave Michelangelo a challenging setting in his adolescence. Second, his biological father was very close to him and affected him especially after Lorenzo’s death. Third, Pope Julius II became his greatest patron. He commissioned Michelangelo with pay to work on projects such as the frescoes of the Sistine Chapel and his own tomb. “They affected Michelangelo in distinctive ways, but all three were crucial for the fulfillment of Michelangelo’s mission as it unfolded during those eventful years” (James Beck, Three Worlds of Michelangelo [New York, 1999] xvi). Like every other, Michelangelo was born in equality to every human being. He was born on March 6, 1475 in Caprese, Tuscany and had always considered himself a “son of Florence” (http://www.michelangelo.com/buon/bio.html [Online/Internet, 18 October, 2000] Early Life 1). His birth mother, Francesca Neri, died young of sickness when he was only 6 years old (Howard Hibbard, Michelangelo: Second Edition [New York, 1974] 15). During his years in grammar school, his father was outraged at his idea to become an artist. “Michelangelo’s childhood had been grim and lacking in affection, and he was always to retain a taciturn disposition.” He was known for having a quick temper and keeping to himself (Early Life 2007-03-19T14:17:00-04:00 http://75.150.148.189/free-essay/Michelangelo-Buonarroti-s-Life-And-Attitude-32835.aspx History of The Surrealist Art Movement Sometimes through history, something comes along that changes everything as it has been known thus far. In the 1920’s, such an art movement came around that changed the way art was defined. The Surrealist art movement combined elements of its predecessors, Dada and cubism, to create something unknown to the art world. The movement was first rejected, but its eccentric ideas and unique techniques paved the way for a new form of art. The Surrealist art movement stemmed from the earlier Dada movement. Dada was a movement in which artists stated their disgust with the war and with life in general. These artists showed that European culture had lost meaning to them by creating pieces of “anti-art” or “nonart.” The idea was to go against traditional art and all for which it stood. “Dada” became the movement’s name as a baby-talk term to show their feeling of nonsense toward the art world (de la Croix 705). Art from this movement was often violent and had an attitude of combat or protest. One historian stated that, “Dada was born from what is hated” (de la Croix 706). Though the movement was started to emphasize nonconformity, Picabia declared Dada to be dead in 1922, saying that it had become too organized a movement (Leslie 58). Despite the fact that it was declared dead, the Dada movement planted the seeds of another, more organized movement. The Surrealist movement started in Europe in the 1920’s, after World War I with its nucleus in Paris. Its roots were found in Dada, but it was less violent and more artistically based. Surrealism was first the work of poets and writers (Diehl 131). The French poet, André Brenton, is known as the “Pope of Surrealism.” Brenton wrote the Surrealist Manifesto to describe how he wanted to combine the conscious and subconscious into a new “absolute reality” (de la Croix 708). He first used the word surrealism to describe work found to be a “fusion of elements of fantasy with elements of the modern world to form a kind of superior reality.” He also described it as “spontaneous writing” (Surrealism 4166-67). The first exhibition of surrealist painting was held in 1925, but its ideas were rejected in Europe (Diehl 131). Brenton set 2007-03-06T22:37:39-05:00 http://75.150.148.189/free-essay/History-of-The-Surrealist-Art-Movement-32756.aspx The Life and Works of Titian Titian (1477?-1576), was perhaps the greatest 16th-century Venetian painter and the shaper of the Venetian coloristic and painterly tradition. He is one of the key figures in the history of Western art. Titian, whose name in Italian is Tiziano Vecellio, was born in Pieve di Cadore, north of Venice, by his own account in 1477; many modern scholars prefer to advance the date to about 1487. In Venice, he studied with Gentile Bellini and then with Giovanni Bellini, but only the latter left a lasting imprint on his style. Influence of Giorgione The first documented reference to Titian dates from 1508, when he was commissioned to paint frescoes, with the Venetian painter Giorgione, on the exterior of the Fondaco dei Tedeschi The first documented reference to Titian dates from 1508, when he was commissioned to paint frescoes, with the Venetian painter Giorgione, on the exterior of the Fondaco dei Tedeschi (the German exchange). Unfortunately, the frescoes survive only in ruined fragments. Scholars disagree as to which paintings dating from the first decade of the 16th century were actually painted by Titian. Among the most important of the disputed works are the Allendale Nativity (n.d., National Gallery, Washington, D.C.), still assigned to Giorgione by most writers, and the world-famous Concert Champêtre (circa 1510, Louvre, Paris), once universally considered Giorgione's but now increasingly thought to be by Titian or a work of collaboration between the two. Scholars unanimously ascribe the so-called Gypsy Madonna (circa 1510, Kunsthistorisches Museum, Vienna) to Titian. This painting is an adaptation of a composition of Giovanni Bellini's, but the Virgin is an earthier type, and the colors and textures have a discreet opulence that foreshadows Titian's later work. His Early Independent Work> In Padua (Padova), in 1511, Titian executed frescoes of three Miracles of St. Anthony for the Scuola del Santo. These narratives demonstrate his power to imbue his ample figures with a convincing sense of anguished, impulsive life, as he set realistically conceived events within vividly and rather impressionistically realized landscapes. In later paintings of this decade Titian progressively enriched Giorgione's idyllic style. Bodies and fabrics took on an increasingly sensuous density and splendor, landscape settings became more resonant, colors deep and intense but harmonious—as in The Three Ages of Man (circa 1513, National Gallery of Scotland, Edinburgh) and Sacred and Profane Love (circa 1515, 2007-03-04T18:44:22-05:00 http://75.150.148.189/free-essay/The-Life-and-Works-of-Titian-32715.aspx Famous Art Work Analysis Paul Cézanne, Still life I really liked Cézanne's still life because; it is full of life, like the fruits are just taken from the tree. It is very different from the Holland's still lives. There everything is like a picture, no life just an image. In Cézanne's painting fruits look like every one of them has a soul. When I look at this picture it always make me happy and put smile on my face is so full of life and joy. Toulouse-Lautrec, At the Moulin-Rouge This picture is one of my favorites, because of the representation of the people in Moulin-Rouge. They have such a strange color faces, but that is because this people are very sad in their souls. The prostates are maybe even bored, this night is like every other one, the clients are the same, and they will know exactly what will happened. They look more like ghosts in a ghost house. They are bodies without souls, because their souls have been already taken. The mood of the picture is very depressive, but it shows what kind of lives live some of the people that we consider adventures. Van Gogh This is maybe one of my favorite landscapes. It is so dynamic and lively. It seems like the trees, the grass, and the sun all-incorporate with each other. You can really see how the grass is moving and the sun is glowing. This seems to be a typical summer day, out in the country. The mood that this picture is projecting to the view is full of happiness and maybe relaxation. Everybody likes to take a walk in days like this one, when all the nature is happy. Munch, The Scream This is very interesting picture, that most of our generation associate with MTV commercial, which is very sad. I like the mystery of the painting. You can't really tell what is happening on this painting. Why the person is screaming, and if this is a real person. We don't know if the person is young or old. This is very interesting approach of what we can imagine of picture of fear. I think Munch, tried to paint the feeling, that everybody had felt, the feeling of fear and that even screaming doesn't help, this feeling to go away. Rousseau, The Dream This is my favorite painter. I like his works maybe because I really like fairy tales. In the dream, 2007-02-02T18:53:56-05:00 http://75.150.148.189/free-essay/Famous-Art-Work-Analysis-32576.aspx Studying the Works of Painter and Poet Francesco Clemente Francesco Clemente is a self-taught painter and published poet who was born in Naples, Italy in 1952; he also went to school for Architecture in 1970 in Italy (“Biography”1)(“Clemente”1). “In 1973 Clemente made his first trip to India, where he now spends part of each year studying the Buddhist religion and the Sanskrit language, the classical language of India.”(“Clemente”,1). He moved to America in 1980; he and his family mainly reside in Greenwich Village in New York City, his art studio is nearby (Sischy,1). When asked in an interview about his process of deciding who he will paint he speaks about a persons status set and that it is not the persons achieved status that helps him to decide, it is that he is “…fascinated by what’s behind the mask, which is something frail, yet at the same time reassuring, because it remains.”(Sischy,3). In the same interview Clemente is asked about his self-portraits “Where are you in your head when you paint them?” Clemente speaks of his own reflexivity in response to the question: “In my head I am in one of those Buddhist caves where you see a thousand Buddha faces on the wall. In my head I am on my seventeen-year-old acid trip, when I saw my personas fall one minute after another, as if I was dying every moment.”…”I'm at the age where I don't need an acid trip to feel naked. To feel that I don't exist. Now a self-portrait is almost a reminder to me that I do exist, at least for a foreign eye. What I make are collected feelings, so I think the only way for me to see my work and not feel that I'm crazy is to see it through someone else's eyes. Your feelings exist if someone else feels the same. Otherwise you might think you really are crazy.”(Sischy,4). Clemente’s numerous self-portraits, the first done in 1976 have been called “ironic” (“Francesco”1) In her article “Francesco Clemente’s India” the author, Gini Alhadeff goes in search of what inspires Clemente. She got advice from the artist himself on the area’s she should visit in India. In the beginning of her article she speaks of a Yoga master from Madras “…when asked why he thought foreigners come to India on spiritual quest, he replied that he didn’t 2007-01-12T04:07:44-05:00 http://75.150.148.189/free-essay/Studying-the-Works-of-Painter-and-Poet-Francesco-Clemente-32407.aspx On October 1st 1949, Chairman Mao Zedong, leader of the Communist Party of China, declared the fall of Chiang Kai-shek's reactionary government, and announced the creation of the new People's Republic of China. However, the good chairman did not achieve this victory by military might alone; through the utilization of propagandistic artwork the communist party was able to win the support of the ailing masses. By examining the propaganda pieces used from the outbreak of the Chinese Civil War, through the Great Leap Forward and Cultural Revolution, and into modern times; along with analyzing the politics and events of the various time periods associated with their corresponding works of art; this paper will prove that communist propaganda has been, and is now, the disseminating force of national cultural identity in China. First of all, it is important to clarify the meaning of the word propaganda in Chinese society. In the west, the idea of propaganda is almost always synonymous with a prevarication or falsehood; yet in China, the word propaganda literally means to broadcast or inform. (Evans, 64) Because of this difference in definition, westerners often mistake the Chinese use of the term propaganda as a self-admission of deception or otherwise oblique portrayal of content. For example, while the Propaganda Department of the Central Committee of the Communist Party of China may sound like an insidious organization to most of the west; it is in actuality an establishment whose purpose is not only to educate the citizens of China about the news and history of the state, but to propagate vital knowledge such as how to handle livestock correctly to avoid contracting bird flu or SARS. (Hunter, p.94) The use of propaganda by the Chinese proletarian class pre-dates the revolution and civil war. Production of simple political propaganda leaflets began as early as 1910 calling for the overthrow of the Qing Dynasty. (Bartlett)(fig1) In figure one we see a group of nationalist and communist soldiers criticizing General Yuan Shikai, a top ranking official of the Qing military. After the overthrow of the last emperor, and the toppling of the Qing Empire as a whole, communist and nationalist forces were joined in a loose confederation to defeat the last warlords who were still loyal to imperial power. This period of time saw very little production of propagandist art. 1927 saw the split of the communist and nationalist alliance with 2006-12-19T02:19:50-05:00 http://75.150.148.189/free-essay/Propagandistic-Art-of-Communist-China-32043.aspx Art History Portrait Analysis I will be comparing the portrait of Norman “The Red Man” 22nd Chief of Macleod by Allan Ramsay to the portrait of Louis XIV by Riguad. Allan Ramsay was Scottish and lived during the 18th century, which was probably the only time that Scotland shook off its reputation of being barren and poverty-stricken. Ramsay’s painting portrays, from the face down, a romantic chieftain wearing ancestral tartan. The cloth is swathed around him with toga-like folds to remind the viewer of the essential nobility of the Scottish clans. Norman stands with a background that implies 2006-12-13T01:14:03-05:00 http://75.150.148.189/free-essay/Art-History-Portrait-Analysis-31982.aspx Styles and Movements of the Impressionist Act "The Impressionists were subjective painters, who looked at nature in their own individual ways. The results were, hardly surprisingly, very different, when we consider the divergent styles of say Monet, Degas, Renoir, Gauguin, and Seurat. Perhaps the greatest achievement of Impressionism was to capture the effect of real sunlight on canvas. It is possibly this that made their pictures the most popular, and the most expensive, of the 20th century." Impressionism began in the late 1800s in France. It is characterised by depicting objects and scenery naturally, making detail of their light and colour. Impressionists made their paintings look like a first impression (this was first noted in a painting by Claude Monet, titled Impression: Sunrise), and were critized for it. Their works were said to appear incomplete. Each of these artists opposed the traditional, dry style of painting. Although some people appreciated the new paintings, many did not. The critics and the public agreed the Impressionists couldn’t draw and their colours were considered vulgar. Their compositions were strange. Their short, slapdash brushstrokes made their paintings practically illegible. That made viewers wondered why they didn’t considered finishing their artwork. Impressionism broke every rule of the French Academy of Fine Arts, the conservative school that had dominated art training and taste since 1648. Impressionist scenes of modern urban and country life were a far cry from the Academic efforts to teach moral lessons through historic, mythological, and Biblical themes. This tradition featured idealised images. Symmetrical compositions, hard outlines, and meticulously smooth paint surfaces intending to hide all traces of the artist’s brushwork characterised academic paintings. Works of the Impressionists submitted to the Academy were rejected. The art works of the Impressionists were considered to be shocking, unfinished and insulting. The Impressionists were frustrated. To them, traditional painting seemed outdated and irrelevant. Disappointed by the lack of encouragement from the Academy, they decided to proceed on their own. In 1874, the impressionist got together and mounted their own exhibition. Claude Monet, Pierre-Aguste Renoir, Berthe Morisot, Paul Cezanne, Edgar Degas and Alfred Sisley were all part of this group. The exhibit itself was not a success but it was the first independent group show of the Impressionist art. The Impressionists, or "Independents," as they preferred to be called, brought together a wide variety of these influences, beliefs, and styles when 2006-11-02T15:40:23-04:00 http://75.150.148.189/free-essay/Styles-and-Movements-of-the-Impressionist-Act-31669.aspx Analysis of Ansel Adams' Photography So, there you are at a wedding. The groom is in his sharp black tuxedo and the bride is in her beautiful white dress and they are ready to cut the largest, most elegant white cake you have ever seen. For this occasion you want to get the greatest picture and everything has to be perfect. Your try a few different angles and pick out the one that is the great and then take a few pictures. The next day, you run to the local photo store to get your prints made. The person at the counter says black and white film takes at least a week, and you are quite displeased. But you think it will take a week, so actually the pictures should come out better. So, you go back in a week and you get your pictures and you are very disappointed, the tuxedo is too dark, the cake and dress are too gray. You are thinking to yourself, what did I do wrong? The answer is quite simple; you didn’t use the Zone System. The Zone System is a powerful, creative, and easy-to-use tool for producing black and white prints. Yes, outstanding looking prints can be made just by pointing the camera at a subject and taking a picture, but the Zone System was invented to give you the security that each negative will come out exactly as envisioned. The camera; it is the most important part of photography. Understanding how the camera works, the Zone System becomes much easier more making great negatives and prints. Point and shoot cameras are very basic. You push down the shutter button just enough for the camera to focus itself and adjust itself for the picture. Pushing down the button all the way will cause your camera to take the picture. But, what is a shutter, how does it know what to do? It’s fairly easy to understand. There are two main parts of the camera, the f/stop and the shutter speed. These two parts are what are adjusted for the correct amount of light exposure to the negatives. The f/stop is in the camera lens. The measurements range on the type of camera you own. The higher the number, the smaller 2006-11-02T15:25:56-04:00 http://75.150.148.189/free-essay/Anlysis-of-Ansel-Adams-Photography-31664.aspx Islamic Spain: Dynamic Architecture The Great Mosque of Cordoba is a unanimously known architectural creation of Medieval Times. With its use complimentary aesthetic elements, this hypostyle mosque amounts to much more than a mere variant of this sort. During the time of the Islamic invasion, all the different ethnic groups adopted their own individual artistic characteristics, which they tried to expand to all the geographic areas that were under their political or religious influence. All of this is evident in the medieval architecture of Spain where we can see how characteristics are present according to the level of influence that a certain group had in a specific geographical area. From the 8th to the 11th Century, the Spanish Islamic architecture suffered some series of changes, thanks to the presence of pre-invasion styles in all the Southern Central area of the Country. With a notable presence of Roman and Visigoth structures especially in Southern Spain, the Muslims decided to take advantage of structures that were already built and in that was the Cordobes, or Cordovan style was created. This style, names after the city of Cordoba became the capital of the caliphate. In the year 711 AD, Muslims from North Africa historically known as the Moors, invaded the Iberian Peninsula taking control over more than sixty percent of the whole territory. This would not only shape the political map of Spain during the Middle Ages, but it would also shape the cultural and artistic profile of this section of Europe. Before and after the Moorish invaders had come to the Peninsula, Spain was an area where one could find a strong diversity of ethnical groups sharing a common ground. Visigoths, Sueves, Basques, Hispano Romans and Jews all lived together right after the fall of the Roman Empire. With the Islamic Invasion, a new element was added to the already ethnically diverse territory, only this time, the relationship among the different groups would be extremely delicate as a consequence of all the existing religious, cultural and ethnical differences. The Great Mosque of Cordoba was built in one year. Made from a variety of materials including stucco, marble and wood. Between the years of 784 and 786 it was built over a Visigoth church. The Great Mosque of Cordoba would receive a series of improvements that gave it a stronger resemblance to the ones built in the East around it’s 2006-08-13T03:58:51-04:00 http://75.150.148.189/free-essay/The-Great-Mosque-of-Cordoba-Islamic-Spain-Architecture-31248.aspx Isabella d’Este: A portrait of a female patron in Renaissance Italy Introduction Art defined the renaissance and the renaissance defined art. It was the product of a society, a response to both social and political circumstances and a mirror to its values as well. Although it would be impossible to derive Isabella d’Este’s exact taste, it is safe to say the rarity of an object was a driving force in a commissioned piece or a sought after item. A particular need for these slices of superiority were becoming more popular in order to convey messages of power and prestige into the public sphere. Patrons of the Renaissance could provide high valued artefacts to the church with the expectation that they would be spiritually rewarded. Rulers could make their land and cities more visually appealing and religious orders could emphasize within the “cultic life of the city.” Although these reasons did not apply specifically to Isabella, we can ultimately identify her as a patron whose desire for art collecting was closely correlated to her personal goal of enhancing her image or those attached to her at a personal and public level. Art collecting became into a visual tool, which allowed members of the nobility, clergy and other elite groups to create representations of their status in the collective’s subconscious. Therefore, it becomes evident how for Isabella the practices of collecting and patronage developed into outlets that gave her the capacity to present herself as a relevant figure inside the northern Italian socio-political sphere. Raised in Ferrara and daughter of Duke Ercole d’Este and Eleonor of Aragon, Isabella d’Este was to pursue a life of cultural illumination. After moving to Mantua in 1490, she was able to learn much about art, music and most importantly collecting, thanks to the cultural exposure that came along with her family’s position and the environment in which she was raised. The search for artists to commission and antiquities was something that ran in Isabella’s bloodline and it would not take long enough before she started to follow the steps of her relatives in regards to the practice of art collecting. Prompted her to start acquiring pieces at a relatively young age, there was a competitive push, which was driven into her by the rivalry with her brother Alfonso d’Este, who was also an avid collector. Although their tastes did vary, it was still enough to lead 2006-08-13T03:54:13-04:00 http://75.150.148.189/free-essay/Isabella-D-este-Renaissance-patron-31247.aspx Fortress Masada And Edward Lear Throughout history, many artists have come about with great paintings. You name it, Leonardo DaVinci with “Mona Lisa”, Pablo Picasso with “Three Musicians”, and Claude Monet with “Water Lilies.” Although all of these paintings were very good, none of them to me come close to my personal favorite, Masada on the Dead Sea, by Edward Lear. This painting is my all time favorite because of how artist Edward Lear showed how the fortress Masada, was the most difficult fortress ever to break into period. But before I get into the painting, “Masada on the Dead Sea”, itself, I will talk a little about the author, Edward Lear’s life. Edward Lear was born on May 12, 1812 in the small town of Highgate, which is a very wealthy suburb of London. His father, Jeremiah Lear, was a wealthy London stockbroker. His mother Ann Lear, was just a simple housewife, but a very sweet one at that. However all of these happy times changed when Edward Lear turned six years old. Jeremiah fell a defaulter in the Stock Exchange and the family had to abandon their fashionable life, to which they were so used to. This is where his sweet mother went bad. She became depressed and mean. Edward’s father, was a little worse. He beat up Edward a lot, blaming him for his misfortunes on the Stock Exchange (Lehmann: page 29). Edward Lear’s parents abandoned him when he turned eight years old (Lehmann: page 36). From the time his father went bad at the Stock Exchange when he was six to the time Edward was abandoned by his parents at eight, Edward Lear was living through hell, with his parents. After his parents abandoned him, Edward went to go live with his older sister Ann in London, who at that time was married to a wealthy English gentleman named Lord Henry Stanley and was twenty-one years old. His sister Ann never turned on Edward like their mother did, and gave him all the love he needed. From that point on, Edward Lear was home schooled by his sister Ann and his other sister Sarah, who came to live with Ann about a year after Edward had arrived (Lehmann: page 38). She too, was very sweet to Edward. By the time Edward turned fourteen (in 1826), 2006-08-12T10:43:00-04:00 http://75.150.148.189/free-essay/Fortress-Masada-And-Edward-Lear-31221.aspx Classical Greece and Early Twentieth Century Art The classical Greek period of art is between 480 – 323 B.C. This era is believed to be the most influential time in the history of western art. It was during this period that artists sculpted statues of perfectly proportioned and flawless bodies. The faces on these figures displayed a sense of serenity and human dignity. The meticulous attention to detail of the human anatomy set the standard for flawless beauty. In addition to sculpture, the Classic Greek artists were master painters. The majority of paintings told a story and was displayed on black and red figure vases. Painted murals adorned the walls of some buildings during this time and, like the painted vases, they too illustrated a story. Another influential period in art is that of the first half of the twentieth century. Many new styles of art emerged during this time, the ever-changing moral and social climate allowed sculptors and painters to abandon traditional artistic concepts for more unconventional methods. Art movements such as the surrealist, cubist, and Harlem renaissance produced works that were considered disturbing, expressive, and thought provoking. Although these two eras of art are separated by style, technique, and two thousand years, the study of art would be incomplete without emphasizing the importance of sculpture and painting produced in the periods of classical Greek and early twentieth century. The brief period of time between the close of the Archaic period and the height of Classical period brought a remarkable transformation of style and tone known as the Severe Style. Facial features that represented the dignity, self-control, and moral ideals of the time characterize sculpture created during this era. Unlike the pointed features of the Archaic period, the severe style is constructed with a broad nose, wide open eyes, full lips, and a rounded firm jaw and chin. The most important change in style during this time was that of the mouth; the tight slim smile so prominent in archaic pieces has been replaced by an expression of harmony. As stated by art historian, Frederick Hartt, “The firm beauty of the features and facial proportions preferred by the severe style is seen at its grandest in the Blond Youth.”(159). (Illustration 1) The blond color that could once be seen in the hair gives this statue its name. The hair is meticulously detailed, framing the young boys face with individual 2006-08-09T13:33:27-04:00 http://75.150.148.189/free-essay/Classical-Greece-and-Early-Twentieth-Century-Art-31201.aspx Kabuki Theatre in Japan Three characters referring to dance, music, and skill represent kabuki in the Japanese language. Kabuki is the traditional Japanese form of theatre. Tradition has it that kabuki was founded in 1603, in the Edo period, by a Shinto priestess named Okuni. Dressed like man, she and her troupe of mainly women performed dances and sketches on a stage set up in the riverbed of the Kamogawa River in Kyoto. Kabuki theatre, in contrast with older Japanese art forms such as Noh, was cultured for the townspeople and not of the upper class. It remains widely popular among the people, and is drawing large audiences even now. Though highly stylized, Kabuki is much like traditional theatrical art. Essential qualities of theatre include the audience, environment, performers, what is being performed, and performance. One of the most important differences between theatre and other performance arts such as film and television is the audience factor. The first kabuki stages were just raised platforms on dry riverbeds. It was not until 1617, that licenses were issued to allow the construction of permanent kabuki theatres. City officials did not allow the theatres to be roofed until 1724. The traditional kabuki stage is a variation of a platform and thrust stage, with the audience sitting on three sides. One unique invention of the kabuki stage is the hanamichi, a walkway from the back of the theatre through the audience to stage right, enabling the actors to make an entrance. First invented in Japan, the revolving stage makes the rapid change of scenery possible. The relationship between the performers and the audience in a kabuki play is a unique one. Inside a kabuki theatre, one would hear shouts of encouragement or recognition from the audience called kakegoe. These shouts consist of the audience praising the actor on stage by referring to the actor’s yago, a predecessor of the same name. There may be moments during a play when an actor comes out of his role to address the audience directly, whether to introduce a new rising star or to welcome another actor to the city. The atmosphere in a kabuki theatre is very spirited. One is likely to see the audience eating and drinking freely at the intermissions or even during the performance. The basic themes of kabuki plays involve conflict between the feudalistic system and the human element. Kabuki 2006-08-05T11:24:20-04:00 http://75.150.148.189/free-essay/Kabuki-Theatre-in-Japan--31033.aspx Major Artistic Accomplishments of the Renaissance Throughout the time of the Renaissance, there were many individuals who embodied the “spirit of the Renaissance.” Many individuals had achievements in the fields of art, literature and science. The Renaissance was a time of great rebirth and revival of cultural and scholarly activity in Western Europe. Three people who embodied the “spirit of the Renaissance” greatly were the artists Leonardo da Vinci and Michalengelo. The third individual is the writer named Niccolo Machiavelli. These individuals all display the “spirit of the Renaissance” by showing a revival with their work. Leonardo da Vinci was a man of wisdom and genius. Even though he was an excellent artist and a sculptor, he was an architect, an engineer and a man of science. Da Vinci was one of the greatest painters of the Italian Renaissance. Leonardo da Vinci was born in a small city just outside Florence in 1452. Da Vinci began painting with great passion at the age of 15 when he was apprenticed to the artists Andrea del Verrocchio. Da Vinci created two masterpieces that stood out over all his other works. Da Vinci painted the most well known painting in the world, the Mona Lisa. The Mona Lisa was a portrait of Lisa del Giocondo, the wife of a Florentine merchant. In the painting of Mona Lisa da Vinci was able to display many new forms of art. He was able to have the woman’s face move in and out of a smile. He was also able to arrange the woman’s hands so that the figure formed a pyramid design. Da Vinci’s techniques solved problems that many earlier painters had faced. Another very well known painting that was created by da Vinci was the Last Supper. During the time of the Renaissance, new forms of painting were introduced to society. A technique called fresco was used to give the colors an opaque appearance. The principals of fresco were used in da Vinci’s portrait of the Last Supper. By using this method da Vinci displayed a revival of art during the Renaissance period. Clearly Leonardo da Vinci embodied the “spirit of the Renaissance” with the rebirth of his artwork. Michelangelo was one of the most famous artists in 2006-08-01T20:31:13-04:00 http://75.150.148.189/free-essay/Major-Artistic-Accomplishments-of-the-Renaissance-30993.aspx How Art Critics Challenge and Provoke Artists and Audiences Changing philosophies in, functions for, and materials used in artmaking has lead to a change in the way art is perceived by the public. A shift from the structural and cultural frames to the subjective and recently postmodern frames means that the interpretations of an artwork can be much more wide-ranging than previous to the 20th century. This statement is especially true in relation to contemporary Australian criticism—as a comparatively young nation it has taken some time for a uniquely Australian style of critical writing to develop. Both the popular press and specific art journals are mediums through which critics can express their opinions and interpretations of an artwork, collection, gallery, or particular artist. While some take the opinion that because critical writing implies authority, “the critic knows best” and that they are always right. However many will disagree with the critics depending on how they feel about an issue. John McDonald is a well-known and often controversial art critic, with strong opinions on a wide range of aspects of the visual art world. In an essay entitled Up It’s Own Art (Spectrum liftout, Sydney Morning Herald, April 6-7 2002), he launches an intense attack on the current state of contemporary art—“Dumbed down and robbed of the old taboos, contemporary art has lost its ability to move or stimulate us”. The article is very provocative, making claims like “Art criticism has reached it’s lowest ebb in 20 years” and “the kind of work that best represents the “New British Art” is…[a] fatuous affair”. It seems that McDonald has written this piece to provoke the artists, the audience (gallery-going public) and other critics alike. Along with other strong opinions expressed in the piece, this article would have supporters of modern conceptual art up in arms. His attacks on contemporary artists, who he claims are pursuing the career for “a taste of pop fame”, are sure to provoke practising artists. Provoking criticisms also appear in another of McDonald’s articles, Off The Wall written for the Sydney Morning Herald. As well as containing a scathing review of Adam Geczy and Ben Genocchio’s book What is Installation?, McDonald writes in the article that installation art is a type of “light entertainment, leaving audiences titillated rather than challenged”. Comments such as this and “the best installation art 2006-08-01T20:15:34-04:00 http://75.150.148.189/free-essay/How-Art-Critics-Challenge-and-Provoke-Artists-and-Audiences-30986.aspx Roman Painting and the School of Athens In the early 1500's Raphael was chosen by Julius II to paint a number of frescos in the Stanza Della Segnatura, Vatican, Rome. Among these was the School of Athens which I have selected to discuss in this paper. Raphael, who had studied art since the age of seven under the teacher Perugino in Umbria, arrived in Florence at the age of twenty-two and achieved immediate success. Raphael was influenced by Leonardo Da Vinci, and Michelangelo who were the artists who had established the High Renaissance style in Florence. The great masters of the High Renaissance style lived in an era when the Roman Catholic church had seized political power. The Popes believed they were the heirs of the Caesars, and they partly exploited their own political ends to realize their fantastic expectations of renewing the old glory of the Roman Empire. The Romans believed that Rome was the centre of western civilization and those with power and influence looked back to the Classics as inspiration for their renewed interest in intellectual thought. From the time of Sixtus IV (1471-84) Rome became a centre for artistic production. But it was not until the rule of Julius II (1503-13), when Bramante, Michelangelo and Leonardo finally settled in Rome that the period of artistic activity flourished and produced the style of the High Renaissance. The fact that the great artists of that time worked almost exclusively in the service of the Church impacted significantly on the themes and the subject matter of High Renaissance Art. The religious art produced at that time did not emphasize spiritual supramundane values of previous eras, instead solemnity, majesty, might and glory were visually portrayed. In the words of Hauser, the inwardness and other-worldliness of Christian feeling yielded to aloof coldness and the expression of physical as well as intellectual superiority. He also suggests that the Popes of that time had as their main goal to immortalize themselves thinking more of their own glory than the glory of God. It was in the Stanza della Segnatura which housed the Pope's library and where the Pope dispensed canon and civil law, that Raphael set about to create a series of frescoes on the walls and ceiling which expressed the four 2006-07-28T18:27:57-04:00 http://75.150.148.189/free-essay/Roman-Painting-and-the-School-of-Athens-30769.aspx Review of the Carter Collection of Chinese Bronze Mirrors I was looking for building 125 east 65th street, hoping that I would soon find any building looking like a museum. Finally, I came upon a building that looks like a rich brownstone in mid-Manhattan. I checked the address to make sure that my eyes were seeing correctly, and for sure, it was the correct place. I had to walk up a small flight of stairs and pass through a doorway that was open. I only went a couple more feet before a second door that was lock stopped me. There was a white flat small oval elevator type button located next to the door. Pushing the button expecting someone to come to the door, a semi-loud buzzing noise came from the door. Turning the doorknob, I went inside the China Institute Gallery. Straight in front of my eye view were two young Asian girls sitting behind what seem like a gift counter. I asked them where was the Chinese exhibition of mirrors. They told me that it was in two rooms, which flanked me on my right and left side. The glass doors that lead into the two rooms were smoked color so that you could not see clearly into the rooms. Turning to the door on the left, which was the nearest door when you entered the building. Now, my first thought, mind you was that I was going to see a bunch of glass mirrors, and already I had pertained the thought of how could this exhibition be called an art show? Well, when I open the door was I surprised, for at first glance I thought I had just entered a music museum with gold plated albums? “Where was the glass mirrors!” was the first thing that popped in my mind. I looked around the room at all the encase circle looking objects. This room was not a big room in any shape of form. There were no Statues or any other shapes to offset the concentric shapes. The mirrors hanged almost symmetrically around the room’s purple Walls. The purple color gave the room an awe of royalty. It was a carpeted room with just the proper dash of light that was neither too bright nor too dark. In this room a lovely Asian woman, who I later learned was American Chinese, greeted me. 2006-07-27T12:36:50-04:00 http://75.150.148.189/free-essay/Review-of-the-Carter-Collection-of-Chinese-Bronze-Mirrors-30721.aspx Michelangelo's "Creation of the Heavens" Michelangelo was explained to be somewhat of an idealist in his vision of religion. He saw God as loving and compassionate, and man as he was first created; pure, noble, and innocent. From the Sistine Chapel, “The Creation of the Heavens,” as it is titled, shows his view of God perfectly and clearly. In fact, the image shows the way others viewed God, as cruel and angry, as well. Many people in Michelangelo’s time felt God was cruel and angry; that he was without mercy for man. They had seen many plagues and wars in that time, and people dying without apparent cause. They figured God left them to their own devices, and that he was unjust. The image shows the wrath of God, and the fear it inspires in His subjects. The four people by God, presumably representations of man as a whole, or even angels, coil back in fear, in awe. The painting portrays how such a glorious thing as the creation of the sun and the moon, the very heavens, can be an awe-inspiring sight. The anger in the face of God is easily visible, showing that the task is a difficult undertaking, but if you look hard enough, you will also see compassion. The face of God in the painting shows His anger, but also compassion and love. If you look at the eyes, there is a look and feel of love, of mercy. I see the pride God feels for his creation, and the great love he has for his subjects. The picture shows the wisdom God possesses, in his representation as an older man. Back in Michelangelo’s time, age brought wisdom, so Michelangelo painted God as an older man. The painting also depicts the grace of God, as he glides effortlessly across the skies, carrying his subjects. The age-old saying, “But for the grace of God…” is portrayed well with this image. Michelangelo was an idealistic painter, his paintings depicting his views of religion. He saw God as a merciful, compassionate, and loving one. In this painting, he showed his views quite clearly. However, Michelangelo was, above all else, a painter. He needed to bring home the bacon. He showed the opinion of others, the majority opinion, in his paintings. 2006-07-17T12:37:55-04:00 http://75.150.148.189/free-essay/Michelangelo-s-Creation-of-the-Heavens-30275.aspx Expressions of Michelangelo Buonarroti Michelangelo, the second of five brothers was born on March 6, 1475, at Caprese, in Tuscany, to Ludovico di Leonardo di Buonarotto Simoni and Francesca Neri. The same day, his father noted down: "Today March 6, 1475, a child of the male sex has been born to me and I have named him Michelangelo. He was born on Monday between 4 and 5 in the morning, at Caprese, where I am the Podestà." When Michelangelo was a child, he met a boy, Francesco Granacci six years older than him, who was learning the art of painting in Ghirlandaio's studio, and Michelangelo found his own artist vocation. Michelangelo's father placed his 13-year-old son in the workshop of the painter Domenico Ghirlandaio. After about two years, Michelangelo went on to study at the sculpture school in the Medici gardens and shortly thereafter was invited into the household of Lorenzo de' Medici, the Magnificent. Michelangelo's studies were: Painting, sculpture and Anatomy of the human body, (for this reason, the quality of his artwork, the perfection of the body in the sculpture and painting). Michelangelo was a very illustrated and intelligent boy, and his father always give him unconditional support. For these reasons, Michelangelo succeed. Michelangelo produced his first large-scale sculpture, the over-life-size Bacchus (1496-98, Bargello, Florence). Pietà at the same time, Michelangelo also did the marble Pietà (1498-1500), still in its original place in Saint Peter's Basilica. One of the most famous works of art, the Pieta was probably finished before Michelangelo was 25 years old. These two artworks of Michelangelo were the first ones and both are great works. While Michelangelo was occupied with the David (1501-1504) he receive a commission, paint a mural, the Battle of Cascina, destined for the Sala dei Cinquecento of the Palazzo Vecchio. With this work, he demonstrates his ability as a painter. In 1505 the Julius II commissioned Michelangelo to produce his tomb which was planned to be the most magnificent of Christian times. In 1508, the pope Paul III had a job for him, painting twelve figures of apostles and some decorations of the Sistine Chapel, and Michelangelo learn the art of the fresco. There are a lot of masterpieces of artwork in his life, but I consider these ones the most important. Michelangelo during his life was an intimate of princess, popes, 2006-07-13T15:39:30-04:00 http://75.150.148.189/free-essay/Expressions-of-Michelangelo-Buonarroti-30226.aspx Historic Analysis of Impressionist Painting Impressionism was the most important Art movement of the nineteenth century, having a great influence on the development of Modern Art. The name impressionism itself comes from a painting ‘Impression sunrise’ created by Claude Monet (a member of the group) being influenced by Japanese Art 1863 was considered to be the start of Impressionism. However the name of the group did not appear until 1874, when the first exhibition was held. Impressionism consisted of landscapes, seascapes, snow scenes, ballet dancers, horses, everyday life and still life but the most common themes were seascapes and landscapes. It consisted of a fairly loose group of painters who first got together because of their dissatisfaction of Academic Art and who opposed to the romantic idea that’s main purpose was to create emotional excitement. These ‘rebels’ were Claude Monet – main artist of group- Edgar Degas, Pierre Auguste Renoir, Camille Pissarro, Henri Toulhouse Lautrec, Alfred Sisley and Edouard Manet – all exploring ways of showing color and light whilst painting outdoors in front of their chosen subject matter and trying to capture the constantly changing qualities and effects of natural light. Born in Paris on the 14th of November 1840, Claude Monet was the main artist of the impressionist group. His childhood was spent in Normandy where he met the artist Boudin who influenced Monet’s paintings of landscapes and seascapes by encouraging him to paint outdoors. Pissarro, Jongkind and also influenced Monet in a subtle way. Then Monet moved back to Paris and met Bazille, Pissarro, Renoir, Sisley and the rest of the impressionist group. Then in 1870 Monet married Camille Doncieux. He then went to Le Havre and because of his fear of being called into the French army, he left for England and his wife was sent after him. There Monet painted several London scenes and saw the paintings of Constable and Turner. The war ended in 1872, resulting in Monet moving back to France and setting up a house just outside Paris. Here he began a ‘fruitful’ period of paintings with Renoir, Manet and Sisley. Then in 1878 he moved and became friends with Ernest Hoschede who left his wife and children with Monet and disappeared the year after Monet’s wife died, as a result of him becoming bankrupt. Then in 1881 the original impressionist group started to 2006-07-10T17:56:59-04:00 http://75.150.148.189/free-essay/Historic-Analysis-of-Impressionist-Painting-30182.aspx History of Elizabethan Theatre in London During Shakespeare´s time London had a great political and economic importance with a large population. Up to this moment the royal Court was seated at Westminster, with its diplomatic life and administrative decision-making. But London was also one of the main centres of English intellectual life. London was a major centre for inland and overseas trade. Both of them expanded during the Elizabethan time. It became the Establishment of the Stock Exchange. The rich merchants supported the expeditions of the pioneers and adventurers. They sailed unknown seas and explored distant countries to open up new markets for England. Many other kinds of workers also worked in the inner city. Every social class created a colourful picture. The Londoner spent most of their spare time visiting animals fights and taverns. But the most preferred pastime was theatre-going. It was the favourite of any social group. Different kinds of Elizabethan theatres There were two kinds of Elizabethan theatres, „public" and „private" theatres. Both were not too away from each other. On the one hand the „public" theatres were visited by various audiences. They performed plays suitable for everyone, mainly for the crowd around the stage except for the wealthier patrons who sat in a seclusion of the surrounding galleries or Lords´ rooms. On the other hand the „private" theatres which were located in halls of already existing buildings. There were benches next to the stage for the wealthy audience, but also galleries. The audience capacity was smaller and there were much higher admission prices. According to Alfred Harbage three different Elizabethan audiences had to be distinguished. Firstly, the genteel audience which visited the private theatres. Secondly, the plebian audience which was part of the Red Bull and the Fortune consisting of plebian people apart from the expelled gentry. The Globe audience in the nineties consisted of a mixture between genteel and plebian or neither of them. Finally, there was the audience of the early decades of the seventeenth century. To sum it up this was Shakespeare´s audience for which he had written all the great Elizabethan plays. The Shakespeare audience was composed of a predominating number of Youth, male, worldly in contrast to pious and, of course, receptive. It was the working-class which was predominant, because it was the majority of the population and the theatrical tariffs were 2006-07-09T15:16:19-04:00 http://75.150.148.189/free-essay/History-of-Elizabethan-Theatre-in-London-30151.aspx Famous Works of Pablo Picasso Pablo Picasso was a famous Spanish-French Painter in the late 19th and early 20th century. Pablo Picasso’s works can be seen in many museums and galleries all over the world today. He is best known for co-creating the art style of cubism. His most famous works of art were possibly The Old Guitarist, which was in his Blue Period and Les Demoiselles d’Avignon, which was in his Cubism Period. Picasso was not just a famous painter, but also did some sculpture and printmaking as well. He is better known for his paintings rather than his sculpture, though. Pablo R. Picasso was born on October 25, 1881 in Malaga, Spain to his parents Maria Picasso Lopez and Jose Ruiz Blasco. His father Jose, who was an art teacher, moved his family to the port of La Coruna and in 1895 he moved them again to Barcelona, Spain, where he was hired to be a Professor in the School of Fine Arts. That same year, Picasso, now 14, passed the school entrance examination, and enrolled in the School of Fine Arts. Two years later, he went to Madrid to study at the Royal Academy, only to return just a few months later. He returned to Barcelona to go to the Els Quatre Gats, where many poets, artists, and critics met to discuss ideas from countries outside Spain. Although Picasso made many friends in Barcelona and Madrid, in 1904 Picasso left Spain to settle permanently in Paris. In Paris, Picasso rented an old run-down building in Montmarte called the Bateau Lavoir. This started the Blue Period of Picasso’s painting life. It was in this period which Picasso expressed beggars, outcasts, and cripples in a heavy blue shaded paintings. One of the most famous of these is The Old Guitarist. The Blue period eventually gave way into the Rose Period in which he painted in more brown and pink colors, local cafes and countryside. He lived in Paris for five years in material poverty but still painting. While in this part of Paris, Picasso met Gertrude and Leo Stein, the famous poet critic Guliaume Apolliaire, and his mistress Fernande Olivier, a person who was the subject of many of Picasso’s works. But most importantly he met Georges 2006-07-05T23:38:07-04:00 http://75.150.148.189/free-essay/Famous-Works-of-Pablo-Picasso-30052.aspx Painting of Giovanni Arnolfini and His Bride Giovanni Arnolfini and His Bride was painted in 1434 by the most famous and innovative Flemish painter Jan van Eyck (ca 1390-1441). American Gothic was painted nearly 500 years later in 1930 by the acclaimed American Regionalist artist Grant Wood (1891-1942). Both images are highly detailed oil portraitures with van Eyck’s Northern Renaissance masterpiece appearing on wood and Wood’s American icon image painted on beaverboard. Both artworks communicate the artist’s traditional customs and cultures with very similar and exacting styles. These similar styles combined with miraculous detail demonstrate how 500 years of art history can be linked together by two paintings. Both paintings contain an ample variety of hidden symbols. The cast-aside clogs, found in the bottom left corner of the van Eyck portrait, indicate that the marriage is taking place on holy ground. Arnolfini’s gentle pose in stocking feet further illustrates this holy ground setting. The little dog, located at the bottom center, symbolizes fidelity, faithfulness, and love. In the van Eyck painting the curtains of the marriage bed have been opened and suspended from the bedpost is a whiskbroom. This whiskbroom is a symbolic reference to domestic care in the household. In the Wood’s painting the man exhibits a pitchfork. The man was given a pitchfork to hold because Wood wanted him to be associated with haying in the 19th century rather than the more common farming practice of gardening in the 20th century. The pitchfork also symbolized masculinity, the devil and farming; and served as a compositional device to echo the roundness of the people’s faces and the repeated lines of the Gothic window. Van Eyck’s placement and position of the two lavishly dressed individuals suggest conventional Flemish gender roles. The typical woman stands near the bed and well inside the room, where the man stands near the open window, symbolic of the outside world. These same gender roles are visited again in the Wood’s painting with the daughter depicted behind the man, perhaps suggesting that the human male is solely responsible for the household. Wood’s also displays social sexism by the rugged, worn overalls worn by the man while adorning the daughter with an apron trimmed with rickrack. Also notice that in both paintings that only the men look directly at 2006-07-04T13:22:36-04:00 http://75.150.148.189/free-essay/Painting-of-Giovanni-Arnolfini-and-His-Bride-29971.aspx History of the Arts and Crafts Movement The Arts and Crafts Movement of the late nineteenth century was an attempt to improve society by creating objects and architecture of a more worthwhile nature. The movement began in England in the 1870's and soon spread to the United States where it was widely employed in the arts and in architecture. Advocates promoted its use among the middle class. Its continued endorsement among all social classes was seen as an empowerment to the poor who had suffered so much during the previous period of industrialization. The end of the nineteenth century had produced a huge rift in society. The benefits of industry had resulted in the creation of an upper class with incredible financial power, and a lower class of extremely depleted means. This system was held in place by a vicious circle. The upper class held control of the factories in which the lower classes worked. These profit-minded people, driven by their desire to increase their fortunes, viewed their employees as just another one of their machines. With increased profit and efficiency as their primary goals, the owners promoted and employed policies that created working conditions that were deplorable to say the least. Work had become a listless enterprise with no other purpose than the betterment of the boss. It held no joy or satisfaction, but was essential for the minimal wages it provided. This division of the classes is clearly indicated in Edward Bellamy’s 1888 future retrospective Looking Backward. The rich were well educated. Their life was one of leisure and dependence. They produced nothing themselves but depended on their employees for all their material goods. The affluent seemed to possess a sense of manifest destiny concerning the luxuries and privileges they enjoyed. Although they had done nothing to produce their wealth, they strongly felt they were entitled to it. Empowered by this self-serving lifestyle, the rich worked together to keep the workforce’s efforts moving in the direction of commerce and profit. This left little room in their factories for fostering such unessential elements as job satisfaction and pride in workmanship. It also produced goods of much lower quality. Industry, under the guidance of the upper class, had developed management techniques to insure continued efficiency inside the factories of the industrial revolution. One approach to management is Frederick Winslow Taylor’s, "A Piece-Rate System" from 1896. It had been a common practice 2006-06-26T17:22:49-04:00 http://75.150.148.189/free-essay/History-of-the-Arts-and-Crafts-Movement-29851.aspx The Photography of M.C. Escher Maurits Cornelis Escher was born in 1898 in Leeuwarden. His drawing and graphic skills can be traced back to his schooldays, and in particular to the influence of his teacher F. W. van der Haagen. After leaving school he spent three years at the School of Architecture and Ornamental Design in Haarlem. The graphic skills he had discovered at secondary school were further developed here under the dynamic S. Jesserun de Mesquita. He lived in Italy for ten years after 1922 and from there he visited numerous places as part of his studies - these included Spain as well as many towns in Italy itself. After leaving Italy in 1934 and going to Switzerland and Belgium, he settled in Baarn, Holland in 1941. He died in 1972 at the age of 73. In contrast to the exclusive use of abstract geometric forms in Islamic ornamentation, Escher was looking mainly for representational motifs (such as fish, birds, reptiles or humans) even for his division of planes. The background of ‘Encounter’ shows a wall on which black, long nosed and white, grinning men form a perfectly interlocking surface. In front of this surface we can see a gaping, circular hole around which the little men emerge marching from the wall surface. They seem to be looking for solid ground, albeit only drawn. So the black man, stooping lower, makes his way along the left side, whilst the white man moves to the right of the illusory abyss, until they meet. Escher's own comment on the scene in the foreground illustrates his fondness of dualities: "Here a white optimist and a black pessimist meet and shake each other by the hand". According to Escher, all contrasts have to be consciously accepted as enrichment and an inspiration in the real world, in the same way that a graphic artist accepts the fundamental contrast between blak and white in his work. A similarity was noticed by Escher's agent between the little white man and the popular Dutch prime minister Colijn, but to what extent this was intended by the artist remains open to speculation. His visits to the Alhambra had acquainted Escher with Moorish architecture and design. Inspired by Moorish wall and floor mosaics, Escher had been preoccupied since the late 1930s with the ‘regular division of planes’. This term refers to a graphic division of the drawing 2006-06-26T17:11:02-04:00 http://75.150.148.189/free-essay/The-Photography-of-M_C_-Escher-29848.aspx Artistic Significance of Leonardo's "Last Supper" Leonardo's "The Last Supper" is among the most famous paintings in the world. In its monumental simplicity, the composition of the scene is masterful; the power of its effect comes from the striking contrast in the attitudes of the twelve disciples as counter-posed to Christ. Leonardo did not choose the portrayal of the traitor Judas customary in the iconographic tradition; he portrayed, rather, that moment of highest tension as related in the New Testament, "One of you which eateth with me will betray me." All of the Apostles--as human beings who do not understand what is about to occur--are agitated, whereas Christ alone, conscious of his divine mission, sits in lonely, transfigured serenity. Only one other being shares the secret knowledge: Judas, who is both part of and yet excluded from the movement of his companions; in this isolation he becomes the second lonely figure--the guilty one--of the company. In the profound conception of his theme, in the perfect yet seemingly simple arrangement of the individuals, in the temperaments of the Apostles highlighted by gesture and mimicry, in the drama and at the same time the sublimity of the treatment, Leonardo attained a height of expression that has remained a model of its kind. Untold painters in succeeding generations, among them great masters such as Rubens and Rembrandt, marvelled at Leonardo's composition and were influenced by it. The painting also inspired some of Goethe's finest pages of descriptive prose. It has become widely known through countless reproductions and prints, the most important being those produced by Raffaello Morghen in 1800. Thus, the "Last Supper" has become part of humanity's common heritage and remains today one of the world's outstanding paintings. Technical deficiencies in the execution of the work have not lessened its fame. Leonardo was uncertain about the technique he should use. He bypassed fresco painting, which, because it is executed on fresh plaster, demands quick and uninterrupted painting, in favour of another technique he had developed: tempera on a base mixed by himself on the stone wall. This procedure proved unsuccessful, inasmuch as the base soon began to be loosened from the wall. Damage appeared by the beginning of the 16th century, and deterioration soon set in. By the middle of the century the work was called a ruin. Later, inadequate attempts at restoration only aggravated the situation, and not until the most modern restoration techniques 2006-06-20T14:22:04-04:00 http://75.150.148.189/free-essay/Artistic-Significance-of-Leonardo-s-The-Last-Supper-29668.aspx Tracing Artistic Expressions of the Human Body Before the portrayal of the human body can be critiqued, you must understand the artist's culture. As man evolved over centuries, his views of the body also transformed. Our tour definitely showed the drastic changes in different cultures' art. Each culture and era presents very distinct characteristics. Through time and experimentation, we have expressed our views of the human body clearly with our art. Egyptians were the first people to make a large impact on the world of art. Egyptians needed art for their religious beliefs more than decoration or self-gratification. The most important aspect of Egyptian life is the ka, the part of the human spirit that lives on after death. The ka needed a physical place to occupy or it would disappear. Most of the important men of Egypt paid to have their body carved out of stone. That was were the spirit would live after the man dies. They used stone because it was the strongest material they could find. Longevity was very important. The bodies are always idealized and clothed. Figures are very rigid, close-fisted, and are built on a vertical axis to show that the person is grand or intimidating. Most of the figures were seen in the same: profile of the legs, frontal view of the torso, and profile of the head. Like most civilizations, Egyptians put a lot of faith in gods. The sky god Horus, a bird, is found in a great amount of Egyptian art. Little recognition was ever given to the artists. The emphasis was on the patron. Early Greek art was greatly influenced by the Egyptians. Geography permitted both cultures to exchange their talents. The beginning of Greek art is marked by the Geometric phase. The most common art during the Geometric phase was vase painting. After the vase was formed but before it was painted, the artist applied a slip (dark pigment) to outside. Then the vase was fired and the artist would incise his decorations into the hard shell. It was important to incise humans into the fired slip and not paint with slip. The people in the pictures needed light colored skin, which was the color beneath the slip, because Greeks wanted to make their art as realistic as possible. Much like Egyptian art, the Greeks idealized the bodies of the people in their works. As the Archaic Period evolved, Greek 2006-06-13T03:16:37-04:00 http://75.150.148.189/free-essay/Tracing-Artistic-Expressions-of-the-Human-Body-29400.aspx Raphael, the Renaissance, and the Re-Birth of Italy The "rebirth" of art in Italy, otherwise known as the Renaissance, was connected with the rediscovery of ancient philosophy, literature, and science and the development of methods in these fields using keen observation. Greater awareness of classical knowledge created a new way to learn by direct study of the natural world. Because of this, religious themes became increasingly important to artists, and with the large interest in the Middle Ages came a new idea for subjects drawn from Greek and Roman history and mythology. The models provided by ancient buildings and works of art also inspired the development of new artistic techniques and the desire to recreate the forms and styles of classical art. Raphael was one of the greatest and most influential painters of the Italian Renaissance. His figures and compositions influenced artists up to the early 1900’s. The period of Raphael’s influence was called the High Renaissance. Raphael painted altarpieces, frescoes (paintings on damp plaster) of historical and mythological scenes, and portraits. His most popular works include his paintings of the Madonna and Child. Raphael was also an architect. From 1514 until his unfortunate death, he directed the construction of St. Peter’s Basilica in Rome. Raphael, otherwise known as Raffaello Santi or Sanzi, was born in the Umbrian City of Urbino,. The atmosphere was probably quite familiar to Raphael from an early age since his father, Giovanni di Santi di Piero, a respectable poet and painter, was well known throughout the Urbino circle. Giovanni died when Raphael was only eleven, however, his workshop was still maintained, and it was there where Raphael received his first artistic training. His development was exceptional and there are works related to him with certainty that they must have been painted in 1499-1500, when he was at the most seventeen. The most extraordinary of these are two banners in the Pinacoteca Comunale at Citta di Castello, near Urbino. Little of his father’s influence is seen in these and other early works, although, the young artist was influenced by two major early Renaissance figures, the painter Piero della Francesca and the architect Leone Battista Alberti, as well as the leading Umbrian painter of his own time, Perugino. In 1500-1501, with Evangelista da Pian di Meleto, Raphael began a large altarpiece, The Coronation of Saint Nicholas of Tolentino, for the church of Sant’Agostino in Citta di Castello. Remaining fragments in the 2006-06-12T21:17:48-04:00 http://75.150.148.189/free-essay/Raphael-the-Renaissance-and-the-Re-Birth-of-Italy-29388.aspx The Extraordinary Muicianship of Beethoven The rise of Ludwig van Beethoven into the rank of history’s greatest composers was paralleled by and in some ways a consequence of his own personal tragedy and despair (Internet--pg. 1). Beethoven’s family was of the Flemish origin. His mother, Maria Magdalena, died after a long illness when Beethoven was only 17. He was not the only child in this family though. He had 2 brothers and 1 sister, both to which were disorganized and unruly. His family was always in constant need of funds. (The World--1963) Beethoven showed his extraordinary musical talent at an early age. His father hoped he could induce his child’s development and make him more like Mozart, and possibly bring in some money for the family which was desperately in need. (The World-1963) As a child, Beethoven never was too interested in music even though he had the talents. Both his father and grandfather were experienced musicians and wanted him to be one also. At the age of four, Beethoven’s father began to teach him the violin and piano, but wasn’t successful in doing so because of his addiction to alcohol. His training was soon taken over by his father’s friend, Pfeiffer, but also, because of alcoholism, his lessons were just as irregular as before. Later, his grandfather’s friend taught him until he resigned in 1781 and Beethoven’s tuition was taken over by Van der Eeden’s successor, Christian Neefe. This man was not only a good teacher, but also a friend. (The World-1963; Sally Patton-pg.73) Beethoven’s first composition was published in 1783. Then, in 1784 he attained his first independent position of a court organist and violinist, and in 1787 he was sent to Vienna to study. Here, he had the opportunity to play for Mozart who liked the work of Beethoven and told his friends “Watch that young man.” (Sally Patton-pg.73). Beethoven studied with a man by the name of Joseph Haydn, but it didn’t work for very long because they couldn’t get along. He began to study with other teachers and soon became very popular in Vienna. Some were pleased with his performances, but others were embarrassed by his arrogance and bad manners. (Sally Patton-pg.73-74) In the late 1790’s, Beethoven discovered an increasing buzzing and humming in his ears and it sent him into panic, searching for a cure. In 1802, he wrote a letter to his brother describing 2006-06-11T19:28:06-04:00 http://75.150.148.189/free-essay/The-Extraordinary-Muicianship-of-Beethoven-29217.aspx History of Art in the Renaissance Period The Renaissance was, essentially, a revival or rebirth of cultural awareness and learning that took place during the fourteenth and fifteenth centuries. It followed the Middle Ages, and was basically a time of the revival of learning after the Middle Ages, or Dark Ages, a time with little increase of ideas, inventions or developments. The Renaissance brought many changes to Europe, and the economy was greatly boosted by of all the new explorations. The flourishing economy helped to inspire new developments in art and literature, and from that many new beliefs were formed. With the arts the artists began to think on their own and those movements began to spread. It was not just what the church said anymore that was right. Humanism, one of the new beliefs which was formed during the Renaissance, said that people should read the works of the greats and focus on writing, and the arts. Another of the new beliefs was scholasticism, which was the opposite of humanism. Scholastics thought that people should spend more time the sciences, they also wanted the church and science to be brought together as one. As new scientific discoveries were made many of the churches theories were beginning to be questioned. Some of the new scientific discoveries consisted of theories which went against the churches beliefs. The renaissance period in art history corresponds to the beginning of the great western age of discovery and exploration, when a general desire developed to examine all aspects of nature and the world. Art, during this period, became valued -- not merely as a vehicle for religious and social identity, but even more as a mode of personal, aesthetic expression. During the Renaissance there were many drastic changes in the style of art. Early renaissance artist sought to create art forms consistent with the appearance of the natural world and with their experience of human personality and behavior, and artists studied the way light hits objects and the way our eyes percieve light. These artists made an effort to go beyond straightforward transcription of nature, to provide the work of art with ideal, intangible qualities, giving it a beauty and significance greater and more permanent than that actually found in nature. A new kind of paint called oil paint was used. This allowed the artist to create texture , mix colors, and allow more time for 2006-06-06T14:37:11-04:00 http://75.150.148.189/free-essay/History-of-Art-in-the-Renaissance-Period-29063.aspx A History of Human Art and Body Painting If the impulse to create art is a defining sign of humanity, the body may well have been the first canvas. Alongside paintings on cave walls visited by early people over 30,000 years ago, we find handprints, ochre deposits, and ornaments. And because the dead were often buried with valuable possessions and provisions for the afterlife, ancient burials reveal that people have been tattooing, piercing, painting, and shaping their bodies for millennia. All of the major forms of body art known today appear in the ancient world, and there is no evidence indicating a single place of origin for particular techniques. Like people today, ancient peoples used body art to express identification with certain people and distinction from others. Through body art, members of a group could define the ideal person and highlight differences between individuals and groups. In the past, as today, body art may have been a way of communicating ideas about the afterlife and about the place of the individual in the universe. A variety of objects demonstrate the use of body art in ancient times including an Egyptian fish-shaped make-up palette from 3650 BC to 3300 BC; a painted Greek vase from the fifth century BC depicting tattooed Thracian women; a ceramic spout bottle depicting the pierced face of a Moche warrior of Peru from AD 100-700; and ceramics of painted Nayarit women from 300 BC to 300 AD. As people from one culture encounter people from another, the diversity of body art can be a source of inspiration, admiration, and imitation. Yet since body art can so clearly signal cultural differences, it can also be a way for people from one culture to ostracize others. Body art links the individual to a social group as an insider, by asserting a shared body art language. Or it distinguishes outsiders, by proclaiming a separate identity. This concept is explored in Identities, which includes exhibits on tattooing in Japan, New Zealand, the Marquesan Islands, and the contemporary U.S, as well as African and Western piercing. Body art practices can change rapidly, reflecting larger shifts in society. Tattooing virtually disappeared in Polynesia, partly due to Western influence, but it is now being revived as an assertion of ethnic identity. Western body art, including everything from piercing to shoe styles, also indicates a person's social identity. In a complex and diverse society, when certain types of 2006-06-02T15:26:33-04:00 http://75.150.148.189/free-essay/A-History-of-Human-Art-and-Body-Painting-29023.aspx Thematic Analysis of Frances Benjamin Johnston's Pictures It was believed that, everyone was set for specific roles. So women believed that housekeeping was their role, for a while. Then, with the development of women rights and ideas, women wanted more freedom and respect. They wanted to have same rights, same freedom that men have. For example a woman, could never act as comfortable as a man in public. There were several reasons for this, “from clothing to terms of respect”. As an example for that, “a woman would never be able to ride a bike, as comfortable as a man because of their clothing, or, a woman would never be able to sit as comfortable as a man, in those years. (But Frances Benjamin Johnston did, as we can see in the picture). Another fact was about business and jobs, women had simple Jobs, which never let them earn enough money, they could never earn as much as men did. It was believed that two genders could never be equal in work, or daily life. As a result of this, we can say that, the ideal of womanhood, has always been the idea of “total equality” and to prove that a woman can do anything that a man does. The picture of Francis Benjamin Johnston reflects those ideals of women. First of all, in those years around 1800s or 1900s, women couldn’t have any jobs they want, even today we can rarely see women doing jobs which are considered as “Men’s jobs”. Johnston became a photographer, breaking all those narrow minded ideas or thoughts, according to her info. She never got married, becoming the ruler of her own and her own family even though she was alone. It was not very ordinary, because people got used to the idea of “men, taking care of women”. As and analysis of the picture of her, she sits like men does, not caring about her clothes, crossing her legs and revealing them which was not very normal in those days, she also holds her drink and cigarette like men does in a pub. She reminds me a man, who is proud of himself in this picture, therefore, Johnston is a female, maybe the first woman who is posing like this. Another thing I realized in this picture is the background. There are pictures of men, who are probably the rulers of her family in 2006-05-31T16:58:02-04:00 http://75.150.148.189/free-essay/Thematic-Analysis-of-Frances-Benjamin-Johnston-s-Pictures-28906.aspx Precisionists have been classified as a group of artist who began to depict the use of machinery using styles and techniques of the previous movements before them such as abstraction, cubism and abstract expressionism. This movement came around shortly after World War 1, when the use of machines began to boom within the United States. The precisionist movement was originally started in nineteen hundred and fifteen when a group of artists got together and decided to look forward to the art of the future. The movement was built around the idea of artists using the precision of their instruments to display these ideas of machinery throughout America. (Precisionism in America . . . 12-13). Construction and machinery were the two main influences of the precisionism movement which became big in the nineteen twenties around the time World War one was ending. With streamlining though mechanization becoming an ideal everyday thing for Americans, and things such as skylines going up in New York, anywhere from fifty to seventy story buildings in cities such as Cleveland and cities like Memphis and Syracuse were beginning to install twenty story buildings. Precisionism became an art movement more as a response to society and the production of new products like motion picture films, antifreeze and cigarette lighters (Lucic. . .16). Cubism, abstraction and abstract expressionism are the common art movements that come to mind when asked about artists. However, these movements all led up to and strongly influenced the movement of the precisionist artists. Precisionism is roughly a combination of these three movements together, using geometrical shapes and using them in abstract forms. These two ways are influenced by cubism and abstraction, while abstract expressionism comes from the expression of the artists’ mind and feelings of the subject matter (Doezema, 74-75). American Artists always find it important to truly reflect the transformation that is occurring in the society. Artworks in the 1920s tended to show the rapidly growing nation along with its expansion of technology and industry. As a typical artist strongly influenced by big changes of the new age, Charles Sheeler revealed a love for contemporary urban life and the beauty of the machine through many of his photographs and paintings. As a son of an executive of a steamer company, Charles Sheeler (1883-1965) began his very first art classes at the School of Industrial Art in Philadelphia. After applying a number of times to the 2006-04-30T21:38:05-04:00 http://75.150.148.189/free-essay/Charles-Sheeler-Precisionist-Art-28770.aspx Burning Of The Idols (Fernando Amorsolo) The Burning of the Idols by Fernando Amorsolo is on exhibit at the Ayala Museum in Makati Avenue, Makati City at the Amorsolo Gallery along with several of his other paintings from different time periods such as his Untitled (Nude) painted in 1919, Planting Rice (1922) and Going to Town on Sunday Morning made in 1958. Like the latter painting mentioned (Going to Town on Sunday Morning), the painting Burning of the Idols was made sometime during 1958. It measures 84 x 128 centimeters and was painted using oil on canvas. The painting is easily classified as representational art. However, some difficulty is encountered in specifying the kind of representational art in which the painting is made. After much debating, it is classified as classicist with a touch of impressionism and romanticism. Before discussing the painting more fully, a brief description of its creator’s life is needed. The painter, Fernando Amorsolo, was given the title “Grand Old Man of Philippine Art” on January 23, 1969 when the Manila Hilton inaugurated its art center with an exhibit of a selection of his works. In 1973, he was posthumously awarded as the first National Artist. Amorsolo was born on May 30, 1892 in Paco, Manila. When he was seven months old, his family moved to Daet, Camarines Norte where he would live for his first thirteen years. In 1905, after the death of his father, the family moved back to Manila and stayed in the house of Don Fabian dela Rosa, a well-known painter and Amorsolo’s mother’s first cousin. It is here at Don Fabian’s studio that Amorsolo learned to mix colors and wield a brush. He enrolled at the Liceo de Manila in 1909 but had to drop out after his third year due to lack of means. However, he refused to be discouraged; through odd jobs such as doing postcard sketches for a shop, he was able to enroll and graduate from the University of the Philippines School of Fine Arts in 1914. He says that he found his own style by reacting to the influences of the four men under whom he studied: Don Fabian dela Rosa, Don Rafael Enriquez (the first director of the UP School of Fine Arts), Miguel Zaragoza (from whom he learned the use of color), and Toribio Herrera (who advocated anatomical detail and muscle). In 1917, Amorsolo was offered a one-year fellowship 2006-01-15T19:28:29-05:00 http://75.150.148.189/free-essay/Burning-Of-The-Idols-by-Fernando-Amorsolo-28431.aspx Art, Culture, And Cuisine Response Essay “Art, Culture, & Cuisine” Although another tough piece to digest, “Art, Culture, & Cuisine,” by Phyllis Pray Bober; emitted intermittent flashbacks of Professor McAndrew - as she revealed to us her reasoning to base this class upon food. It had not occurred to me that there is an infinite number ways to use and observe food, in relation to art and literature. Personally I have continued to overlook the fact that a particular … banana, sandwich, pot-roast, etc. may be used by a writer or artist, for a specific - intended purpose. Moreover, the human necessity to require food has caused this relationship to transcend cultures. We all need food to survive, and it is intriguing how we humans have created thousands of flavors of food from differing ethnic areas. These tastes can be influenced by religion, environment, and many other factors that develop within a community. No where more aparent of this, Bober explores the contrast between the cultures of East and West. In particular she talks of Chinese and French cuisine in relation to art. Sometimes the value of a particular edible item may be profound within one population, however another group may lack knowledge of the very same item. For example; rice, a staple of Asian countries, might be more likely to be found on a Chinese painters canvas versus an artist from France who might use another form of strach that has become common in their area. She gives another example of the contrast by discussing the differences between the menus of these very same cultures; siting the French menu to have a "sense of structure, of classical order, in the presentation of a formal French meal. Whereas "a Chinese menu ... unlfold(s) melodically with an ebb and flow like landscape painting on a horizontal scroll."(p. 6) Bober expands on this idea a little when she discusses the differences in "texture," and "color," on any given dish, and tries to deduce if this supports the idea that "we are, indeed, what we eat."(p. 1) Being that this piece, is in itself, is an introduction; it babbled on tangents that seemed possible of filling an entire novel. However, the reading did continue to evoke pockets of interest in the area of food application. When I sit down for a Chinese meal, it will now be very aparent to me 2005-09-18T06:00:22-04:00 http://75.150.148.189/free-essay/Art-Culture-and-Cuisine-27992.aspx The Landscapes Of Patrick Collins’, Art History Patrick Collins' landscapes directly connect to his childhood, in that he often spent his early days venturing into the Irish countryside. Such adventures allowed his affinity for nature and keen observational sense to thrive. Throughout his painting career, Collins pulled many of his subjects from boyhood memory. Rather than relying directly on the land itself, he focused on his remembrances of the land, enabling each painting to stand independent, with an internal logic and unique meaning (Ruane, 59). Furthermore, such depictions of memory liken to poetry, as Collins' paintings delve deep into the world of imagination, evoking emotion of the past and present. Although this sense of mystical autonomy encompasses the whole of Collins' works his themes and techniques, however, vary over the course of his painting. Color, brushstroke, use of light, and composition mature from his first pieces to his last. Thus Collins demonstrates a progression of understanding not only in his artistic views, but also in the means which he presents these views in his artwork. St. Anne's Park, Raheny (c. 1946) demonstrates Collins' early style in painting. The thick, layered application of paint shows his abstract detachment from the specific scene. The dark, brooding colors contrast with the highlights of light, adding further to the fairy tale aspect of the piece. Collins' thick, almost busy composition, however, is short-lived as he progresses to a less cluttered canvas. In Barking Dog (1955) a house, tree, and dog are the only subjects to occupy the piece. Empty space becomes apparent as swirling blues and grays fill up the void, pulling the work together. The dark boarder further contains the painting, while the short depth of field allows the illuminated inner rectangle to pop out from the surface, as it hovers under a mist of dry paint. Such a technique adds to the scene's intangible nature, thereby fulfilling Collins' objective. He states, "You don't believe in the thing you're painting, you believe in the thing behind what you're painting. You destroy your object, yet you keep it … You destroy to find another thing" (Ruane 23). Likewise, Spring Morning (1957) embodies the ethereal qualities of Collins' painting, as soft golds meld in a hazy atmosphere. Though abstracted, the natural aspects of the blustery season emanate from the gestural 2005-06-21T03:27:44-04:00 http://75.150.148.189/free-essay/Art-History-The-Landscapes-Of-Patrick-Collins-27055.aspx A Brief Look At The History Of Sculpture Throughout the history of civilization man has often made monuments in many varied forms symbolic of the cultures they live in. These monuments are usually represented through arts of architecture, landscaping, painting, and sculpture. These diverse forms of art have their own unique qualities, all of which can be accented with sculpture in some way. As sculpture usually relates closely to the other arts in expression and style, it still relies on all of the social aspects of the society in which it resides for its meaning and purpose. The three-dimensional and long-lasting qualities contribute to the wide use of sculpture as a cultural expression of the beliefs and ideals of man. Mostly these beliefs are displayed in varied forms such as designs or decorative additions like religious symbols of idols or gods, civic leaders, beings of myth or legend and other figures historically or socially significant to the society in which these creations are found. These images are often fashioned as aesthetic carvings or figures adorning buildings, fountains, jewelry, memorials, housewares, and countless other items both public and private. Among the many functions of the art, sculptures in their many forms serve as artifacts of the societies they were formed in. These artifacts do a great deal to tell us of the culture of the people--what their government was like, the aspects of daily life, and the religious beliefs of the people. There exist three categories that define most any sculpture: relief’s, linear, and full-round, which are classified by their appearance. These categories each have different limitations: full-round can be viewed from any angle, relief’s are one sided sculptures projecting from a surface, whereas linear deals with materials such as pipe or wires, or other numerous other objects, resulting in a two-dimensional appearance. Sculptors often add texture to their work through the use of different materials that can be pounded, molded, carved, or shaped into a three-dimensional form. However, the material typically used by a culture depends upon what is readily available geographically, such as the wooden idols in Africa, or the marble statues in Rome. Though any material can be used (depending on the desired result), the prevailing mediums have been stone, clay, bronze, and wood. Unfortunately most historical artifacts made out of less durable materials have not withstood the test 2005-06-17T08:58:49-04:00 http://75.150.148.189/free-essay/A-Brief-Look-At-The-History-Of-Sculpture-26892.aspx Art Theory leading into the 18th Century The argument of color verses design originated in the Baroque, but extended much further into the eighteenth century in terms of theory. Roger de Piles was the father of this argument based on coloris versus disegno and the Poussinists versus the Rubenists and so on. He joined the Academy in 1699, right on the verge of the Rococo and basically formed the argument for color, rather than classical design in his Cours de Peinture par Principes in 1708. Up until Rubens artwork, the classical style of painting was preferred with a focus mainly on “straight lines, right angles, triangular arrangement of forms, balance, symmetry, and so on” (Minor 367). De Piles believed that color appealed more to human’s emotions and that was what truly great art was meant to do. He therefore obviously chose Ruben’s work as superior to Poussin’s. This was known as the Quarrel between the Ancients and the Moderns, with the Moderns prevailing in the eighteenth century . Ruben’s work was monumental in shaping the painting style during the next century. His paintings inspired artist’s styles such as Watteau, Gainsborough, and Boucher. Through de Piles arguments within the academy and Ruben’s rejection of the classical style the eighteenth century painting theory was born. This essay will attempt to follow this movement from the classical style that dominated the baroque with Poussin to the shift towards Rubens at the end of the century and end with its influence on art theory in the eighteenth century. Throughout most of the Baroque the classical was preferred in painting. Poussin’s paintings are usually used as perfect examples of baroque classicism, but the idea of painting in the classic mode goes much further than this. “Literary theory on ideas of painting went back at least to Alberti” (Puttfarken, Roger de Piles’ Theory of Art 2). The Academy wished to move painting into a more serious and advanced form of art comparable with poetry and writings of the greats from antiquity. The themes chosen for these paintings were usually in the history category and followed strict visual rules. The entire composition would be the core of the painting with an emphasis on drawing. These paintings have clear lines defining each object and are placed in an orderly manor. This order can be read as very complex with an exact sequence like literature and is 2005-06-09T04:11:33-04:00 http://75.150.148.189/free-essay/Art-Theory-Leading-into-the-Eighteenth-Century-26846.aspx Visual Analysis of Funeral Stela of Menthuhotpe from the cemetery at Abydos Several weeks ago I visited the Museum of Man- specifically the exhibit of Egyptian artifacts. I observed the Funerary Stela of Menthuhotpe. This piece is obviously from the early Egyptians, probably during the Old Kingdom Dynasty, which spanned several thousand years around 2000 B.C.. The piece’s resemblance to the reliefs during this time period is striking (one example of similar work is the relief in Ti’s mastaba which shows him watching a hippo hunt created between 2450 and 2350 B.C.). This is an example of a stela or stele. A stela is a carved or inscribed stone slab or pillar. This piece could be a stele carved in sandstone, or perhaps, painted limestone. Paint used in this Although the Museum of Man calls it a stela, it reminds me of a stele- which Gardner’s Western Perspective defines as a carved stone slab erected to commemorate a historical event or, in some other cultures, a grave (p. 23). The similarity of these two definitions is striking, so obviously the two terms refer to the same type of art. Whatever it is called, it is obviously what is represented in this example. This stela re-creation is about 2.5 feet tall which could make sense if it were simply a relief placed in the tomb of a noble person or royalty. My initial thought is that this piece seems too small. If it were in fact placed within the tomb, it is an appropriate size, although portrayals subjects in isolation are rarely found in early Egyptian art. Typically portraits of this size would be memorials to the deceased, though this was a practice more common to the Romans during the Hadriac Empire, than to the early Egyptians. I have to wonder if this re-creation is a representation of a much larger relief whose scale may have been significant enough to cover an entire wall. The composition, or arrangement of figures in this piece, focus on the individual who is centrally located. He is framed by a solid strip which borders him on three sides, and is capped by multicolored stripes which line the top of this slightly erratic piece. The multicolored stripes draw the eye vertically downward to the human depiction. These colorful elements, though interesting, seem to 2005-06-01T02:11:18-04:00 http://75.150.148.189/free-essay/Funeral-Stela-of-Menthuhotpe-from-the-cemetery-at-Abydos-26807.aspx A Look At Picasso and Guernica Picasso's Guernica is unique and unlike any other photograph or painting of a historical war scene. Historical photographs show scenes and capture moments in time, but when viewing them an intangible "wall" exists between the viewer and the photograph. The difference between photographs and original paintings is that the painting allows the viewer to break through the "wall" and actually experience the feelings and emotions expressed in the painting. "We only see what we look at and to look is act of choice." ("Ways of Seeing" 8) "The photographer's way of seeing is reflected in his choice of subject, they are showing you what they want you to see." ("Ways of Seeing" 10) Photographs are taken for a reason; there are many other angles or other scenes a photographer can choose from and it is up to the photographer to decide which one the viewer sees. In essence, the viewer only sees one aspect of the image captured with the lens of the camera. For example, "when only the head of a figure is visible in a picture which appeals to visual thinking-as distinguished, for example, from a news photograph which many make use of the sense of sight merely for the purpose of informing us of what went on in a certain place-that figure is always to be seen as being incomplete." (Arnheim 11) The eye cannot continue beyond the borders of the photograph and the wholeness of the picture is lost. In a painting, the artist has painted all of the elements to be seen simultaneously. "The spectator may need time to examine each element of the painting but whenever he reaches a conclusion the simultaneity of the whole painting is here to reverse or quality his conclusion." ("Ways of Seeing" 26) A painting maintains its own authority, the painting does not capture momentary appearances it creates its' own. In doing so the viewer becomes a part of the painting, when the viewer steps away from the painting he is no longer an influence or a part of the painting. Paintings can not be seen in two places at the same time, "when the camera reproduces a painting, it destroys the uniqueness of its image." ("Ways of Seeing"13) The uniqueness is destroyed because the painting now travels to the spectator rather then the 2005-05-15T02:04:18-04:00 http://75.150.148.189/free-essay/A-Look-At-Picasso-and-Guernica-Art-Piece-26608.aspx Statuette of a Youth Ancient Greek art set the bar for artists around the world for thousands of years and still does today. Its sophistication peaked during the Classical Period which has been called the “Golden Age” of Greek art. The idea of being able to make the world and people around oneself seem flawless was captured through their art. From the usage of geometric shapes to the idea of symmetry helped to give way to the idea of equilibrium, a balance, to which the Greeks held as one idea of perfection. Many sculptures in Greek art took qualities of a person and made them bigger, stronger, and more beautiful. They took nature broke it down and rebuilt it to make it perfect in the eye of the artist. Apollo, the Greek god of the sun, was always pictured as the perfection of a youthful man. He was strong, handsome, and intelligent. The Statuette of a Youth was a cast bronze sculpture supposedly of the god Apollo. It is from the Early Classical Greek period, made around 470 B.C. The statue depicts the young Greek man reaching out towards something. The Statuette of a Youth is a typical Greek sculpture; he has one foot forward, one arm down by his side, and a solemn look on his face. This pose is much like that of an archaic sculpture but, there is much more detail and realistic qualities to his form which makes him from the Early Classical period in Greek art. It is similar to the archaic Kouras from Attica in the sense that this pose puts off the impression of strength and of an athlete and he has thick ankles which support and stabilize the statue. Since, this sculpture is supposedly of the god Apollo who was used throughout ancient Greek art as the perfect male form; it is understandable that the statuette has a muscular idyllic build. When taking notes on the sculpture one can still see how geometric shapes are used as the building blocks and the basis of his figure. There is a triangle from the shoulders to the abdomen, cylinders are used for his legs and arms and finger, a sphere for his head, triangles for his nose, and rectangles for his feet; however, they are fluid and there are natural curves to his body. Furthermore, his pose is natural, it is realistic. One can 2005-04-30T03:55:42-04:00 http://75.150.148.189/free-essay/Statuette-of-a-Youth-Greek-Art-History-Paper-26579.aspx David, who was destined to be the second king of Israel, destroyed the Philistine giant Goliath with stone and a sling. Donatello, Verrocchio, Michelangelo, and Bernini each designed a sculpture of David. However, the sculptures are drastically different from one another. Each one is unique in its own certain way. Donatello, whose David was the first life-size nude statue since Classical times, struck a balance between Classicism and the realism by presenting a very real image of an Italian peasant boy in the form of a Classical nude figure. Although Donatello was inspired by Classical figures, he did not choose a Greek youth in his prime as a model for his David. Instead, he chooses a barely developed adolescent boy whose arms appeared weak due to the lack of muscles. After defeating Goliath, whose head lies at David's feet, he rests his sword by his side, almost to heavy to handle. It seems almost impossible that a young boy like David could have accomplished such a task. David himself seems skeptical of his deed as he glances down towards his body. Apparently, David's intellect, faith and courage made up for his lack of build (Fichner-Rathus 331-332). Verrocchio, who also designed a sculpture of David, was the most important and imaginative sculptor of the mid-fifteenth century. This figure of the youthful David is one of the most beloved and famous works of its time. In Verrocchio's David, we see a strong contrast to Donatello's treatment of the same subject. Although both artists choose to portray David as an adolescent, Verrocchio's brave man "appears somewhat older and excludes pride and self-confidence rather than a dreamy gaze of disbelief" (Fichner-Rathus 334). Donatello balanced realistic elements with an idealized Classically inspired torso whereas Verrocchio's goal was absolutely realism in minute details. The sculptures also differ in terms of technique. Donatello's David is mainly a closed-form sculpture. The objects and limbs are centered around an S-curve stance, which balanced his human form. Verrocchio's sculpture is more open. For example, the bared sword and elbow are sticking out, away from the central core. "Donatello's graceful pose had been replaced in the Verrocchio, by a jaunty contrapposto that enhances David's image of self-confidence" (Fichner-Rathus 334). Michelangelo was yet another artist who sculpted David. His reputation as a sculptor was established when he carved his David at the edge of twenty-seven from a single piece of relatively unworkable marble. Unlike the 2005-04-17T04:46:37-04:00 http://75.150.148.189/free-essay/David-Sculptures-26505.aspx Edgar Degas and Impressionism The impressionist age was a time of artistic rebellion to the common standards of art in late nineteenth century France. Rather than painting in the traditionalist fashion, focusing on exotic subject matter, powerful figureheads and historic scenes, impressionists painted everyday life as it was. The impressionists were known for using bright, unmixed colors to illustrate luminosity through texture. They opted for less detail in order to create an overall effect. "The impressionists allowed their brushstrokes to retain the liveliness and seeming spontaneity of a sketch." (Encarta 2001) A common technique they used called impasto used thick textural dabs of paint. This technique is seen in many impressionist paintings. What would the impressionist age be without one of it's greatest, Edgar Degas? This leader in impressionism is characterized by his famous and influential paintings, reflecting the life and times of this era. The voyeuristic quality to his paintings gave a different angle to look from. This came along with the invention of the camera. Degas used the idea of cropping pictures and using levels to create a 3D effect, as well as incorporating asymmetrical balance. In addition, impressionist experimented with different mediums, in order to get their desired effect. Hilaire Germain Edgar de Gas was born into a wealthy family on July 19, 1834. It wasn't until later on in life that he adopted his shortened name, Edgar Degas. His father was a banker who was also very interested in the arts, giving young Edgar the direction he needed by taking his to the art museums in Paris. He was devoid of bohemian values, a spreading epidemic among artists emerging at this time. When he was 18, his father provided him with a studio to pursue his career in art. Degas started off painting very traditionalistic pictures, eloquently copying famous works of the Old Masters in the Louvre. It was there that he met Manet, an impressionist who would soon come to introduce Degas to the changing world of art in Paris. Manet was a very big influence on Degas. He brought him to meet his contemporaries Cézanne`, Renoir, Sisley, Monet, and Pisarro, as well as writers Emile` Zola and Edmund Duranty at the Café Guerbois in Paris where they met weekly and discussed art and the world around them. When Prussia moved in on France in 1870-1871 resulting in the outbreak of the Franco-Prussian war, Degas as 2005-03-29T01:34:53-04:00 http://75.150.148.189/free-essay/Edgar-Degas-and-Impressionism-26443.aspx Claude Monet's Biography Claude Monet was born in Paris on the 14th November, 1840. When he was five years old, he moved to the port town of Le Havre. For much of his childhood, Monet was considered by both his teachers and his parents to be undisciplined and, therefore, unlikely to make a success of his life. Enforcing this impression, Monet showed no interest in inheriting his father's wholesale grocery. The only subject that seemed to spark any interest in the child was painting. He developed a decent reputation in school l for the caricatures he was fond of creating. By the age of fifteen, he was receiving commission for his work, and was finally to become known as the "Father of Impressionism". Monet studied under the painter Boudin, who was obsessed with the idea of painting outdoors. Later Monet left Le Harve to travel Europe, but was recorded as frequently returning to visit his friend of many years. Monet once said about Boudin, "My eyes were finally opened and I understood nature; I learned at the same time to love it.” Monet served for the National Service in the spring of 1862, and lived in Algeria. During this time the landscape and environment was said to have made a profound impact on his work. Boudin had opened his eyes as a painter, he may have even convinced the young painter to break with tradition and finish his paintings outdoors, but he was still too young to truly experience the country's capital. Algeria was just the place and time that he needed. Titled now as the "Father of Impressionism", Monet was always absorbed by the fleeting quality of sunlight. Still, he went far beyond a preoccupation with luminosity and reflections in his works. The art of Monet, gives the appearance of improvisation and spontaneity. His paintings often took a very long time to finish, as he would only paint when the light was falling correctly on every aspect of the painting's subject matter. Monet moved to London in the early 1870's to avoid involvement in the Franco-Prussian War. There he was exposed to the English masters, Constable and Turner. Later, Monet returned again to Le Harvre where he painted the cited painting largely credited with the naming of the entire movement. Never fully content, Monet went to Dieppe, Pourville and Varengeville-sur-Mer. His first wife 2005-03-27T10:37:00-04:00 http://75.150.148.189/free-essay/Claude-Monet-s-Biography-26413.aspx Influence of Realism on Literature After World War I, American people and the authors among them were left disillusioned by the effects that war had on their society. America needed a literature that would explain what had happened and what was happening to their society. American writers turned to what is now known as modernism. The influence of 19th Century realism and naturalism and their truthful representation of American life and people was evident in post World War I modernism. This paper will try to prove this by presenting the basic ideas and of these literary genres, literary examples of each, and then make connections between the two literary movements. Realism not only depicted American society after World War I accurately and unbiasedly, but also tried to find the solutions brought upon by the suffering created by the war (Elliott 705). The realistic movement of the late 19th century saw authors accurately depict life and it's problems. Realists attempted to "give a comprehensive picture of modern life" (Elliott 502) by presenting the entire picture. They did not try to give one view of life but instead attempted to show the different classes, manners, and stratification of life in America. Realists created this picture of America by combining a wide variety of "details derived from observation and documentation..." to "approach the norm of experience..." (3). Along with this technique, realists compared the "objective or absolute existence" in America to that of the "universal truths, or observed facts of life" (Harvey 12). In other words, realists objectively looked at American society and pointed out the aspects that it had in common with the general truths of existence. This realistic movement evolved as a result of many changes and transitions in American culture. In the late 1800's, the United States was experiencing "swift growth and change" as a result of a changing economy, society, and culture because of an influx in the number of immigrants into America. Realists such as Henry James and William Dean Howells, two of the most prolific writers of the Nineteenth-century, used typical realistic methods to create an accurate depiction of changing American life. William Dean Howells, while opposing idealization, made his "comic criticisms of society" (Bradley 114) by comparing American culture with those of other countries. In his "comic" writings, Howells criticized American morality and ethics but still managed to accurately portray life as it happened. He attacked and 2005-03-19T21:17:07-04:00 http://75.150.148.189/free-essay/Influence-of-Realism-on-Literature-26373.aspx Art Analysis: An Ancient Greek Gravestone "Why me? Why did I have to go so soon? I could have done more with my life. Who is going to take care of the children?" These are thoughts that could have poured through the mind of the woman in the marble stele. The chosen piece is a marble grave marker from the mid-fourth century B.C. It depicts a woman sitting to the right side, with her left side facing the world, in a chair with her head half covered by a shawl of some sort. The stele, which is made of marble, is forty-eight and one eighth inches high, and it was found sometime before 1827 in Acharnae, Menidi, in Attica. There isn't much known as to who carved it, or as to whom it is a carving of. This could be because in the eighteenth and nineteenth centuries, a great deal of great artifacts, especially sculptures were gathered up and collected by Europeans (Art of the Western World). This caused some statues to be damaged during their transports, and many of them have lost pieces of their histories due to the harvesting of these artworks en masse. This piece in particular was donated to the Metropolitan Museum of Art in 1948, as part of the Harry Brisbane Dick Fund (MMA postcard). Its purpose is the only thing that is really known, and that is that it is a grave marker. However, it is still beautiful and charming nonetheless. Based on the Story of Art, the untitled marble stele would be classified as a Classical piece of art. This means that the Greeks of the time tried to capture true human essence by portraying people as beautiful, but trying to portray real positions of people at the same time. The artists tried to break away from the stiffness of the archaic style. It infuses ideality with reality. The woman, proportionally, looks like the size of an average woman, but she has a beauty to her. Her face is smooth, and her nose, although it is broken, is the ideal size. Her nose, mouth and eyes are all properly distanced from each other. Perhaps this is what the woman who died looked like at her prime in life, or maybe this is how she looked 2004-12-22T19:47:51-05:00 http://75.150.148.189/free-essay/Art-Analysis-on-An-Ancient-Greek-Gravestone-25959.aspx Photographic Influence on Degas Work What, if any impact did photography play in the role of arts ‘evolution’, in particular, what impact did photography have in the works of the impressionist painters. Two obviously conflicting opinions arise through texts by ‘Aaron Scharf’ and ‘Kirk Vanerdoe’. Scharf argues that the impact of ‘snapshot photography’ and the invention and wide distribution of portable camera’s had a significant influence on the works of the painter ‘Degas’. Vanerdoe takes the opportunity to question what makes an influence significant, and tends to see the creation of Impressionism stem from earlier art movements. Then comes the question, what, if any arguments are valid, what arguments are opinions and what can be sieved down to fact. The truth of it all is that many of these opinions that are displayed can neither be proved nor disproved, and therefore any analysis must be taken with a grain of salt. However it appears as though Vanerdoe has taken the less hospitable route, resulting at times to personal attacks, as well as blanket statements of which may not answer a question raised by Scharf, but rather simply a personal attack. It is in these statements we see a very passionate Vanerdoe, but also lose faith in his ability to keep together a reasoned and structured argument. Vanerdoe’s beginning argument for example, ‘¹this line of thinking however is inaccurate and misleading’ the basis for his essay, and way of thinking to come. It is from this we see Vanerdoe try and reason that, photographical influence isn’t substantial enough, yet no attempt at defining substantial has been made, that therefore leads me to conclude that, substantiality in the case of Vanerdoe’s essay must continue as a buzz-word. I would asses the word substantial as the dictionary does ‘Considerable in importance’ and therefore Vanerdoe considers that the photographic influence is not considerable in importance. What levels of significance then does photography play in the role of art work of Impressionism and in particular Degas? So one would then at this point, try and define, to ones self exactly what constitutes a substantial impact. I would put forward that a substantial impact would be one, which remnants are visible through the completed work. Substantiality would then be based on whether or not the aesthetic or meaning of the photograph still influences. Therefore I decree that substantiality can be undervalued, but not 2004-12-20T03:21:20-05:00 http://75.150.148.189/free-essay/Photographic-Influence-on-Degas-Work-25848.aspx Practice in art refers to the decisions and actions that affect choices, perceptions, ways of working and views of an artist or art historian. Tim Storrier sums up the practice of an artist by saying that “A painting is really a graphic illustration of where a particular artist is at that point in his life and the art encompasses what the artist has gone through in their life.” On art historians and critics he says “Other people come along and interpret the painting with their own life experiences” The subjectivity involved in a critic or art historian’s views are extremely high. The practice of Tim Storrier is informed by the theories of painting an idea with a poetic edge. This idea then goes searching for “totems” to portray itself upon. Storrier speaks about this theory: “My paintings don’t start with visual stimulation, it’s usually an intellectual idea with a poetic edge, then the idea goes searching for different totems to portray itself upon.” Storrier elaborates further that “The bottom line of my paintings is that they are trying to come up with totemic images about Australia. We don’t have many, for me the true totemic image of Australia is the horizon.” A totem is a natural object that is usually the emblem of a clan in a tribal group. Storrier’s totems are a natural object that he can apply his poetic idea to. We see from these quotes that the theory of Tim Storrier’s art is concerned with the idea of painting “totemic images” and that the paintings are trying to come up with totemic images about Australia. Storrier believes that the totemic image of Australia is the horizon. Storrier is using both the Subjective and Cultural frames in his artwork. Storrier uses the cultural frame to emphasise the point that his belief is that the horizon is the totemic icon of Australia. The horizon is included in most Australian paintings and has become an integral feature of Australian artworks. Storrier was influenced by Australian artists Russel Drysdale and Sydney Nolan. Both these artists use the horizon as a key feature of their paintings. Storrier incorporates the horizon in almost every painting and the main idea of his paintings are the horizon, not the actual objects he portrays in them. Storrier’s theory on the horizon being the totemic image of Australia stems from his love of the horizon, even as 2004-12-12T05:25:42-05:00 http://75.150.148.189/free-essay/Art-Theories-and-Influence-on-Artists-25822.aspx Chopin - Poland's Greatest Composer Frederic Francois Chopin, one of the greatest composers of all time, was born in Zelazowa Wola, near Warsaw on February 22, 1810. His father was a Frenchman who had lived in Poland for many years and his mother was Polish and of noble birth. He loved to play music, even as a small child. Before he even knew how to write down his ideas, he started to compose music. He took piano lessons when he was 6 years old from a Czech teacher named Wojceich Zywny, who used to base his teaching on Bach and Mozart. When he was 7, his first composition, the Pollonaise in B flat major, was written down by his father, as well as some other dances, marches and variations now lost. At the age of 8, he performed at a public charity concert. During his early years in Warsaw, he loved to hear the premier artists of the time perform. His first published work, a rondo, appeared when he was only 15 years old. He graduated from the lyceum at age 17, and he was recognized as the leading pianist of Warsaw and a very talented composer. After Chopin gave two successful concerts in Vienna when he was 19, he began writing works designed for his original piano style. In 1822, he finishes his studies with Zywny and begins private composition lessons with Josef Elsner. He enters classes at the Warsaw Lyceum the next year to further study classical literature, singing, drawing, music theory and harmony. By the late 1820s, he had already won the reputation as a piano virtuoso and composer. He toured throughout Europe to the acclaim of audiences and critics, alike. He made his first visit to Vienna in 1829, where he played concerts and received critical acclaim. The audience's response was very favorable and Chopin was impressed with the warm acceptance of his music and pianistic abilities. The following year, he performed the Concerto in F minor with a small orchestra for family and friends, then has its premier in Warsaw's National Theater on March 17. In Vienna in 1831, he continues to compose some Mazurkas and Etudes, and attends the local opera and becomes very involved in the local musical life. According to some, the first sketches of the 1st Scherzo and Ballade originated in Vienna. Poland then decided to revolt against its Russian rulers. As a 2004-10-31T07:51:45-04:00 http://75.150.148.189/free-essay/Frederic-Chopin-Biography-25679.aspx Frank Lloyd Wright Architecture Analysis / Discussion These ideas proposed by Wright represent a half century of ingenuity and unrivaled creativity. Wright was unquestionably a architectural genius and was years ahead of his time. The biggest obstacle which held Wright back throughout his career was the lack of technogaly that was present during his time. As a architect, Wright accomplished more that any other in history, with the possible exception of DaVincci or Michangelo. His philosophy of Organic Architecture showed the world that form and function could both by achieved to create a house that was both true to nature and affordable. Wrights homes, have today become monuments of greatness and distictionn. Most of them serve as museums, displaying the his ideas and the achievements of a lifetime of innovation. It wasn't until Wright published "The Natural House" however, that he fully was able to illustrate all of his ideas relating toward housing. In the "Natural House" wright defines the meaning of Organic Architecture and how it can be applied to creating housing which provides a closeness to nature for the occupents. Wright was undoubtly a romantic and individualist. His feeling toward nature and self integrity can best be shown by comparing them to those shared by Emerson and Thoreau. Wrights deep love of nature and his individualism were formed from the events which influenced him as a child and up until his days working for Louis Sullivan. In order to fully understand the ideas which Wright proposed through his philosophy of Organic Architecture, one must first understand the events and influences which led to their creation. As a child, Wrights parents always encouraged him to be a free thinker and individualist. Both of his parents were intelligent and creative people by nature. They, of all people had the greatest influence on Wright. Throughout his life they were extreamly supportive of Wrights dream of becoming an architect, and always made sure that he had books and pictures of buildings that he could study and learn from. Wrights parents had little money, but they always found the extra money needed to support their childrens intrusts. When Wright became old enough to begin learning about working, his parents felt that sending him to his uncles dairy farm during his summer break from school would provide him with the proper work ethics and morals needed to become a responsible adult. The work on the farm 2004-10-31T07:25:19-04:00 http://75.150.148.189/free-essay/Architectural-Genius-of-Frank-Lloyd-Wright-25673.aspx When one thinks of a portrait, perhaps one of the many paintings that flash by is that of Leonardo da Vinci: the Mona Lisa. But in fact, portraits do not have just one style. The subject does not have to be seated facing a certain way so that the artist can take advantage of the “curving” effect. It can be of a man, a woman, a god, or a child, religious or secular, idealized, or abstact. In Portrait of a Man and a Woman at a Casement, Fra Filippo Lippi portrays a man and his wife somewhat facing each other. Although they are man and wife, they do not look intimate, and in fact, do not appear to be looking at each other. Because the woman is bigger in scale compared to the man, she seems closer to us. Moreover, everything recedes from her: the background seen through the window gives us an illusion of depth. The artist’s emphasis is on the wife: we see only part of the profile and hands of the husband. Why is more than half of the painting covered by only the woman? This painting was supposed to have been a commemoration of a wedding or the birth of a child. If this painting was about a birth of a child, it certainly makes sense that Fra Lippi gave more importance to the mother figure. He pays great attention to her dress and jewelry although we cannot see at all what her husband is wearing except for his “hat” (head-covering?). The female is idealized in that she has the characteristic Rennaissance smoothness and roundness. The man is looking inside, and the woman is looking outside through what we perceive to be a door. It is not drawn, but based on the light source, which is coming from the top left – we can tell because of the shadow that the husband’s face casts on the back wall – it seems like it is a door, and that the woman is looking outside at the world, thinking of the baby that is to see and share it with her. Overall, the painting is done in such a way that we feel like we’re looking at the two people through a frame or a window as well. Rembrandt’s 2004-10-29T02:35:22-04:00 http://75.150.148.189/free-essay/A-Discussion-of-Portraits-25578.aspx One has just to blow a note on a sax and your feet start tapping to the rhythm and your body starts swaying to the music. That's Jazz for you. Ragtime, hip-hop, be bop, cool, blues - the very names make your finger snap and do a Texas two-step, no? Jazz has often been called the only art form to originate in the United States, though even this is not exactly true. Jazz, is a kind of music that was sung or played by the African slaves in the plantations of America. In the 18th and 19th century, Africans were lured or kidnapped from their villages and sold in faraway America as slaves to work in large plantations. After a hard day's labour, these people would gather together and sing, both to forget their worries and also to teach their children about the land and culture they came from. Different forms of musical notes from various cultures flowed across the Southern United States during the late 1800s. They were part of the cultural baggage that immigrants brought from their countries to the land that was the melting pot of cultures, America. Jazz music thus, grew from a combination of African folk music and rhythms, Caribbean and black American music, as Africans have a very strong culture of singing and dancing. Early jazz music was basically the Blues, a soulful and heart-rending composition with simple and repeated harmonies performed by black musicians who had little or no training in Western music. The Blues was especially widespread in the American South. This was because the American South had the largest number of plantations and so also the largest numbers of slaves. Jazz instrumentalists have long exploited the blues as a vehicle for improvisation. Apart from its musical influences from Africa, the Caribbean, Latino rhythms, instruments like the clarinet and the saxophone also influenced the sound of jazz. By the middle of the 19th century, jazz grew in popularity and its sound became influenced by musicians with formal training and classical backgrounds. In the late 1890s a musical style evolved from St Louis called Ragtime. Its popularity quickly spread to other parts of the United States. This music style emphasized on formal composition and was played on the piano. The music was energetic and lively and quite different from the piano concertos associated with Western classical music. Naturally people loved it. From New 2004-07-12T22:11:13-04:00 http://75.150.148.189/free-essay/Where-did-Jazz-Originate-25551.aspx [i:5f8267538c]Examine the impact of the Nazi regime upon architecture and art in Germany[/i:5f8267538c] In the 1920's Germany was a centre for modern art and forward thinking architecture. Art styles and schools such as cubism and Dada developed in Germany, and schools of excellent architecture such as the Bauhaus school developed in this liberal and free thinking period. However this all changed in1933 due to the rise to power of the Nazis. This essay will examine the effect that the Nazi regime had upon the styles of art and architecture in Germany during their rule. The Nazis believed that art and architecture would be an important factor in the large propaganda operation they planned to operate. Once Nazis came to power they took control of society and began to spread their influence to many different art forms. These included theatre, architecture, fine art, sculpture and photography. Soon after the Nazis came to power they began to exert their influence over art forcing their preferred styles to be adopted. The preferred styles chosen by the Nazis were based on Hitler's taste. Hitler saw himself as an art connoisseur and an architecture expert. This was due to his background and everlasting wish to become a professional architect. This exertion of influence by the Nazis and the mass book burning ordered by propaganda minister Josef Goebbels in 1933 served as a warning to many artists that their work would not be welcome in the "new" Germany. This led to a mass exodus of artistic talent from Germany to many other countries such as France and the USA. In was in this way that Germany was culturally purged of all but a few talented artists who specialised in the styles of art which were preferred by the Nazis left. After the book burning the Nazis next step toward changing Germanys art was to "cleanse" all of her art galleries of any art which was not to the Nazis liking. The styles of art disliked by the Nazis were modern art because they believed that they could not be liked by the masses because they had no clear message. The Nazis also believed that modern art was "foreign". Art which was disliked by the Nazis, was referred to as degenerate and decadent. Soon after the Nazis came to power they created a Reich Chamber of Art. This had to approve all artists before they could do any work within Germany. They also 2004-07-05T22:28:51-04:00 http://75.150.148.189/free-essay/Impact-of-Naziism-on-Architechture-and-Art-25498.aspx Cross and Signac were experimenting with juxtaposing small strokes (often dots or "points") of pure pigment to create the strongest possible visual vibration of intense colour. Matisse adopted their technique and modified it repeatedly, using broader strokes. By 1905 he had produced some of the boldest colour images ever created, including Green Stripe (Madame Matisse) (1905, Statens Museum for Kunst, Copenhagen), a striking picture of his wife. The title refers to a broad stroke of brilliant green that defines Madame Matisse's brow and nose. In the same year Matisse exhibited this and similar paintings along with works by his companions, including AndrÉ Derain and Maurice de Vlaminck. As the result of this exhibition, the group was dubbed les fauves (literally, "the wild beasts") because of their use of vivid colours, their distortion of shapes, and the extremes of emotionalism in which they seemed to have indulged. While he was regarded as a leader of radicalism in the arts, Matisse was beginning to gain the approval of a number of influential critics and collectors, including the American expatriate writer Gertrude Stein and her family. Among the many important commissions he received was that of a Russian collector who requested mural panels illustrating dance and music (both completed in 1911; now in the Hermitage, St Petersburg). Such broadly conceived themes suited Matisse ideally; they allowed him freedom of invention and play of form and expression. His images of dancers, and of human figures in general, convey expressive form first and the particular details of anatomy only secondarily. Matisse extended this principle to other fields; his bronze sculptures, like his drawings and works in several graphic media, reveal the same expressive feelings seen in his paintings. Although sophisticated, Matisse always emphasized the importance of instinct and intuition in the production of a work of art. He argued that an artist did not have complete control over colour and form; instead, colours, shapes, and lines would come to dictate to the sensitive artist how they might be employed in relation to one another. He often emphasized his joy in abandoning himself to the play of the forces of colour and design, and he explained the rhythmic, but distorted, forms of many of his figures in terms of the working out of a total pictorial harmony. From the 1920s until his death, Matisse spent much time in the south of France, particularly Nice, painting local scenes with a 2004-07-05T22:27:58-04:00 http://75.150.148.189/free-essay/Cross-and-Signac-Art-Research-Paper-25497.aspx Gustave Courbet's Reclining Nude In the Philadelphia Museum of Art are five paintings by Gustave Courbet; of all of these I found Reclining Nude (1868, Oil on canvas, The Louis & Stern Collection, 63-81-20) the most interesting. It depicts a nude woman lying on the beach beneath a billowing canopy. A dark, but tranquil sea is in the background. The sky is dark as if the final rays of the sun were disappearing over the horizon. There are a few clouds in the sky, they are dark but not threatening. The picture is very dark in general and there is no obvious light source. The edges of the painting are so dark it is impossible to tell what the nude reclines against. A very dim light falls on the woman, who lies on her right side. The upper half of her torso is twisted to her left and her hips and legs face the viewer. Her right leg is bent slightly so her calf is beneath her straightened left leg. The woman is not as thin as classical nudes, her hips are somewhat broad and her thighs are slightly heavy. Her arms are crossed languidly over her head. Because her arms are crossed over her head, her face is almost completely in the shadows; this shadowing covers the detail of her face in such a way that she could be almost anyone. She gazes wistfully at the ground to her left. The woman is rendered very softly and is in a very sensuous pose. This picture would have been found scandalous for its sexual overtones as was Courbet's La Demoiselles au bord de la Seine. A scarlet cloth lies in front of her; it has a very rumpled look which has sexual implications. The vacant, wistful look and the languid crossing of her arms suggest that she is thinking of a lover who has just left her. The careful shadowing of her facial features leads one to believe she has something to hide from public knowledge. It is not covered enough, however, for one to believe she has any shame for appearing in so public a place in such a position; this, too, would have been found scandalous in the 1860's. Now, however, compared to such displays of sexuality and nudity as found in magazines such as Penthouse and Playgirl or X-rated movies, the picture is perceived as a modest, proper display 2004-07-04T02:13:32-04:00 http://75.150.148.189/free-essay/Gustave-Courbet-s-Reclining-Nude-Art-Piece-Essay-25205.aspx