«“Manga” is the Japanese word for “comics” and is written the same in plural and singular forms. Manga does not represent comics in general but comics originating from Japan. Manga has substantially influenced the international market of comics and...» Document abstract
$3.95
4 pages word
Language : english
arts and art history
presentation
date published
11/07/2008
review : not yet assessed
level : General public
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Summary“Manga” is the Japanese word for “comics” and is written the same in plural and singular forms. Manga does not represent comics in general but comics originating from Japan. Manga has substantially influenced the international market of comics and animation. Artists from countries like America, Canada, France, and others have been inspired by the unique and different art form and are evident through their books around the world. The distribution of manga has grown since it first hit American waters in the 1970s.
Table of Contents
- Eastern folklore mixed with Western visual art.
- Hong Kong - weekly magazine called Family Comics.
- Manga - attractive in primarily Spain, Italy, and France.
- Japanese language is traditionally written right-to-left in works of fiction.
- The Matrix by the Wachowski brothers.
«If one were to elongate the neck, legs and arms of August Rodin’s “Thinker,” the result would look something like Tom Otterness’s “The Crying Giant.” But it is precisely this aspect of the sculpture that makes the “Crying Giant” a less effective...» Document abstract
$2.95
3 word format
Language : english
arts and art history
presentation
date published
19/06/2008
review : not yet assessed
level : Advanced
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SummaryIf one were to elongate the neck, legs and arms of August Rodin’s “Thinker,” the result would look something like Tom Otterness’s “The Crying Giant.” But it is precisely this aspect of the sculpture that makes the “Crying Giant” a less effective closed sculpture. The limbs and large body areas are not used to block off the other views, leaving the work’s form more open and easier to guess at. Whether the artist chose the symmetrical posture of his work first or the elongated limbs first, the piece as a whole does not reward a close inspection by the viewer from many angles because the sculpture’s structure can be grasped from a distance. Rodin however, textures the Thinker with twisted muscles, curved toes and other small details to give a realistic sense of a human body’s effort to balance itself. The muscular body uses its thick limbs and broad torso to close off each view from the other. Rodin’s “The Thinker” is a more effective closed sculpture because it uses large structural elements as well as fine details to create a variegated experience that reveals new details from each viewing angle, but the “Crying Giant” sacrifices this experience for a geometric simplicity which makes the closed posture of its subject less effective and enjoyable.
Table of Contents
- The Giant in Otterness's sculpture.
- At the bottom the Thinker's feet are dug firmly into his stoop.
- Examination of the sides completes an inspection of 'The Thinker.?
- An examination of 'The Thinker' from every side will reveal new and exciting details.
«Although an artist’s work represents the culmination of an intensive effort to communicate a message, how the message is interpreted by others is often how the artist’s work is remembered. Thus, even though a particular artist may believe that he or...» Document abstract
$5.95
6 word format
Language : english
arts and art history
presentation
date published
17/06/2008
review : not yet assessed
level : General public
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SummaryAlthough an artist’s work represents the culmination of an intensive effort to communicate a message, how the message is interpreted by others is often how the artist’s work is remembered. Thus, even though a particular artist may believe that he or she has reached the apex of artistic expression, the critics’ interpretation of the work typically carries more weight than the work itself. Thus, when examining new exhibits of artists it is important to consider not just the work that has been produced, but also to consider how the critics have responded to the work overall. Only though considering the critic’s response is it possible to understand the larger public response to the work that will ultimately be produced.
With the realization that the critics’ opinion of a particular artist and his or her work is critical for understanding public response to a particular artist and their work, there is a clear impetus to examine the overall methods that critics employ to examine a specific artist’s work. Utilizing this as a basis for research, this investigation considers the critics’ response to three artists: Elizabeth Murray, Richard Tuttle, and Oscar Bluemner. Through a careful consideration of what the critics have noted about the works of these artists, it will be possible to elucidate how critical opinion of artwork can shape how the individual views the artists’ work even before actually observing it. Further, by exploring how the critics have responded to these artists, the variable nature of art criticism will be effectively illustrated.
With the realization that the critics’ opinion of a particular artist and his or her work is critical for understanding public response to a particular artist and their work, there is a clear impetus to examine the overall methods that critics employ to examine a specific artist’s work. Utilizing this as a basis for research, this investigation considers the critics’ response to three artists: Elizabeth Murray, Richard Tuttle, and Oscar Bluemner. Through a careful consideration of what the critics have noted about the works of these artists, it will be possible to elucidate how critical opinion of artwork can shape how the individual views the artists’ work even before actually observing it. Further, by exploring how the critics have responded to these artists, the variable nature of art criticism will be effectively illustrated.
Table of Contents
- Introduction
- Elizabeth Murray
- Westfall is not the only author to appreciate Murray's unique style of painting.
- According to Horsley (2005) 'Despite her evolving artistic path, Murray's work consistently demonstrates fine painterliness, strong palettes and a slightly unfinished quality that make her work distinctive and interesting.
- Richard Tuttle
- In spite of the fact that Tuttle's work appears to have garnered heavier criticism than that of Murray, it is evident that Tuttle's work has been well received overall.
- Clearly, Tuttle's work has caused considerable controversy over its true overall worth.
- Oscar Bluemner
- Conclusion
«Photography becomes more than art, more than paintings, or sculptures. It exposes the truth to life that a brush can barely compare to. If there is a passion, a real love for the art, photography becomes consuming, sinking into the skin forever....» Document abstract
$4.95
5 word format
Language : english
arts and art history
presentation
date published
16/06/2008
review : not yet assessed
level : Advanced
requested 0 times
SummaryPhotography becomes more than art, more than paintings, or sculptures. It exposes the truth to life that a brush can barely compare to. If there is a passion, a real love for the art, photography becomes consuming, sinking into the skin forever. Every aspect of the soul becomes sucked into every turn, corner, or endless hole of a photograph. Since the days of the camera obscura in the early 1700s, photographers have continually stretched the boundaries, developing an ever-growing list of styles. Among the multitude of revolutionary photographers, stand some of the later photographers who could merely expand on what was already available. Three such photographers are Ansel Adams, Wynn Bullock, and Jerry Uelsmann, all of who worked during the 20th century ranging from more traditional landscape photography to digitized works.
Table of Contents
- Photography becomes more than art, more than paintings, or sculptures. It exposes the truth to life that a brush can barely compare to.
- Adams' created the Zone System using all the different values of gray, and here is what he came up with.
- Another photograph among Ansel Adams' large collection is Clearing Storm photographed in 1938 in Sonoma County.
- Wynn Bullock came around years following Ansel Adams around the 1950s. He shared similarities in style to Edward Weston, longtime friend, and became famous for his photographs of nudes and landscapes.
- Another brilliant photograph of Wynn Bullock is Point Lobos, Tide Pool in 1957.
- A more modern photographer by the name of Jerry Uelsmann was part of the postwar generation of black and white photographers.
- The second image that was attention grabbing was untitled and created in 1975.
- The three photographers I chose all used black and white; yet they used it in different ways.
The development of art and architecture and how it reflects the social and cultural attitudes underlying social discourse.
«Research on the development of art and architecture demonstrates that works created during different time periods clearly reflect the social and cultural attitudes underlying social discourse. With this in mind, it is not surprising to find that the...» Document abstract
$5.95
6 word format
Language : english
arts and art history
presentation
date published
04/06/2008
review : not yet assessed
level : Advanced
requested 0 times
SummaryResearch on the development of art and architecture demonstrates that works created during different time periods clearly reflect the social and cultural attitudes underlying social discourse. With this in mind, it is not surprising to find that the middle class interiors of the nineteenth century were heavily influenced by artists and architectures. As the economic and social mobility of the middle class grew during this time period, so too did the impact of art on the homes of the middle class. Using this as a basis for investigation, there is a clear impetus to examine what has been written about middle class interiors of the nineteenth century. To this end, this investigation considers this issue in conjunction with the social influences that promulgated change in the middle class interior of the nineteenth century. Through a careful consideration of what as been written on this subject, it will be possible not only to examine middle class interiors of this time period, but also to identify how art evolved and change occurred in this specific environment.
Table of Contents
- Introduction
- The Nineteenth Century Middle Class'An Overview
- Art During the Nineteenth Century
- Interiors of the Nineteenth Century Middle Class
- Interiors in Europe
- Interiors in the United States
- Conclusion
«Ballet, like many other art forms, has a long and rich history of evolution and development. In fact, researchers examining the history of ballet have noted that the earliest precursors to ballet can be found as far back as the Renaissance in Italy...» Document abstract
$3.95
4 word format
Language : english
arts and art history
presentation
date published
04/06/2008
review : not yet assessed
level : General public
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SummaryBallet, like many other art forms, has a long and rich history of evolution and development. In fact, researchers examining the history of ballet have noted that the earliest precursors to ballet can be found as far back as the Renaissance in Italy (Wiley, 2006). Since this time, ballet has expanded and developed based not only on the prevailing culture at a given time, but also with respect to the specific country in which it was performed. With the realization that ballet has such a long and rich history, there is a clear impetus to examine this history and the evolution of ballet overall. Using this as a basis for investigation, this research considers the development of modern ballet in the United States. Through a careful consideration of what has been written about the history of modern ballet, it will be possible to demonstrate how this art form developed in the United States.
Table of Contents
- Introduction
- The History of Ballet'an Overview.
- Ballet was first introduced to the United States in 1916
- Foulkes argues that oppression that had been placed on society as a result of the further mechanization in the wake of World War I promoted dancers to seek a wide audience
- Conclusion
«Botticelli’s Primavera begs for meaning. It is a complex, large-scale masterpiece with apparent contradictions in mood, movement, theme and context. The direct gaze of its central figure instructs the viewer to look carefully, as does Botticelli’s...» Document abstract
$5.95
6 word format
Language : english
arts and art history
presentation
date published
04/06/2008
review : not yet assessed
level : Advanced
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SummaryBotticelli’s Primavera begs for meaning. It is a complex, large-scale masterpiece with apparent contradictions in mood, movement, theme and context. The direct gaze of its central figure instructs the viewer to look carefully, as does Botticelli’s precise hand. Every deliberate petal, every careful pattern, every pointed glance drips with significance. The trick, then, is to define that sense of significance and transform it from silent colors on a piece of tempera into a coherent body of words, hopefully coming to summation in a single idea as exquisite as the dance of the three figures in the left side of the painting. Countless scholars have attempted to find a cohesive interpretation of the Primavera using what historical sources are available including letters, political events, philosophy, celebrations and countless other hypothetical treasure maps to the Primavera’s meaning.
Table of Contents
- Mirella Levi d'Arcona wrote her Botticelli's Primavera - A Botanical Interpretation Including Astrology, Alchemy and the Medici.
- The context chosen by the interpreter directs all future declarations and conclusions.
- D'Ancona begins with the wedding of Lorenzo di Pierfrancesco de Medici to Semiramide Appiani.
- Michalski limits the focus of his article to the central figure.
- The complex and intricate garb of the central figure differs a great deal from the white robes worn by the other female figures.
- The shifting foci and source documents for each element in the painting demonstrate the incredible variety of iconographical analysis.
«Much of the art produced in Russia during and after the Revolution served as a response to the sudden and widespread changes in society. Andrei Platonov’s short story The River Potudan is no exception. Largely allegorical and interpretive, this tale...» Document abstract
$2.95
3 word format
Language : english
arts and art history
presentation
date published
03/06/2008
review : not yet assessed
level : Advanced
requested 0 times
SummaryMuch of the art produced in Russia during and after the Revolution served as a response to the sudden and widespread changes in society. Andrei Platonov’s short story The River Potudan is no exception. Largely allegorical and interpretive, this tale of a soldier’s re-entry into the world of his youth employs subtle motifs to give the reader a more complete sense of how exactly a civil war transformed Russia. One of the salient motifs in the work is the distinction between transparency and opacity—and the symbolic extensions of this concept from the visual world to the spiritual and ideological realm. Platonov uses transparency in his story to represent the disillusionment of the Russian people with their post-war situation, and in contrast to the potential, portent, and potency of opacity. His vision stands in opposition to that of the Vasiliev “brothers,” in which opacity operates in a Marxist sense as a bourgeois means of oppression.
Table of Contents
- Transparency in The River Potudan takes the form of emptiness, translucency, and clarity.
- But Nikita's trouble extends further than a trouble getting to know Lyuba more intimately.
- When he returns to Lyuba, his surroundings are predictably more opaque.
- In Chapaev, the role of transparency is bit different.
«While Christianity could be argued to have started somewhere between the years 1 and 33 AD, it was not the official religion of the Roman Empire until the Edict of Milan in 313 AD, though by then it had extended throughout the empire and its social...» Document abstract
$9.95
10 word format
Language : english
arts and art history
presentation
date published
03/06/2008
review : not yet assessed
level : Advanced
requested 0 times
SummaryWhile Christianity could be argued to have started somewhere between the years 1 and 33 AD, it was not the official religion of the Roman Empire until the Edict of Milan in 313 AD, though by then it had extended throughout the empire and its social structure, thus necessitating the official conversion. So during its early years, it had to practiced in secret, and its art created in secret, independent of any stylistic influences of the time. As it became more established, there was a reaction against the pagan art of the Romans, and Christian art intentionally continued in a different style in order to differentiate itself. While Greco-Roman art was very idealized and aesthetically pleasing, medieval Christian art leaned away from realistic depictions and instead relied on subject matter and symbolism, and therefore concept as its basis. Figures became more abstracted in sculpture and painting, though not for lack of skill on the part of the artists. As the third dimension was denied, the art was more spiritualized, and was meant to be understood as a picture, rather than a direct representation.
Table of Contents
- Christian Art.
- Early Christian art was already emerging by the second century AD and could be found in cemeteries and catacombs.
- The stylistic differences between classical forms and the new Christian style continued into portraiture.
- With the legalization of Christianity and its establishment as the official state religion, churches were needed to hold all the new worshippers.
- Migration Art.
- The artistic tradition of the migration tribes was therefore completely unrelated to that of the Romans and their classical artistic forms.
- The Crown of Recceswinth from the 7th century AD in Spain shows the degree of intricacy typical of Migration metalwork and jewelry.
- An effect of the influence of Migration art on early Christian art can be seen in the Maiestas Domini altar from 731-744 AD in Italy.
- Hiberno-Saxon Art
- Another page from the Book of Durrow is titled the Symbol of Saint Matthew.
- Hiberno-Saxon art is characterized by flat picture planes and abstracted images that border on the unrecognizable.
- Carolingian Art
- The Equestrian Portrait of a Carolingian Emperor, assumed to be Charlemagne, from the 9th century AD, illustrates the slow reemergence of classical styles.
- No longer is the primary figure floating on a background of flat color.
- Carolingian art was remarkable for its time as it formed a resurgence of classical styles applied to Christian subjects.
- Charlemagne
- Charlemagne was born around the year 748.
- Charlemagne's kingdom encapsulated much of Central Europe, stretching from the border between modern-day Spain and France, and east across France and to Germany.
- In 813 AD Charlemagne crowned his only surviving legitimate son, Louis the Pious, as emperor.
«Throughout the course of the twentieth century, society, and more specifically, the art community, underwent a rebirth called modernism. Modernism served as the basis for artists and society as a whole to seeks an expansion away from Victorian...» Document abstract
$2.95
3 word format
Language : english
arts and art history
presentation
date published
03/06/2008
review : not yet assessed
level : General public
requested 0 times
SummaryThroughout the course of the twentieth century, society, and more specifically, the art community, underwent a rebirth called modernism. Modernism served as the basis for artists and society as a whole to seeks an expansion away from Victorian morals, which placed such marked constraints on society and social interaction. In this context, art became a philosophical means of expression in which the artist sought to improve the work to a higher level of expression. One artist made the observation that, “modernist art was the avant-garde mainstream within a broader stream, modern art, because it was progressive, verging toward ever-more-autonomous forms.”
Table of Contents
- What is perhaps most interesting about the changes that occurred in the context of postmodernism is the debate over the quality of art being produced overall.
- When examined in this perspective, it becomes evident those ascribing to the postmodern ideology were those that could see the utopian ideal slipping away.
- The progression of postmodern art has also entailed the use of technology as a means for promoting social awareness of cultural changes.
- In the end, it seems reasonable to argue that the development of postmodern art was inevitable.
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