... The Baroque art period of art was born in Italy/Western Europe, around the early 1600’s thru 1750. It was mainly influenced by the division of the Christian religion in the West, between the Roman Catholics and Protestants. The Roman Catholics used this art as a part of their campaign to maintain their followers. They felt it was aesthetically appealing and it would inspire the largest possible audience (Baroque, n.d.). Rembrandt’s The Ass of Balaam Talking before the Angel from 1626 is a good example of what the Roman Catholics wanted viewers to see and feel. Baroque art is known for its display of intense drama, which invokes powerful psychological sensations; emotional feelings. It incorporates the use of concentrated rich colors and the extreme differences between light and dark. The subject was typically very light and bright, almost giving it an angelic quality with the background being very dark, mysterious and shadowed. The themes were generally extravagant and of ecstasy, grandiose visions, death, or overall intense moment (Pioch, 2002). The Surrealism period of art started around 1920 and continued for many years. It commenced from Dadaist undertakings after World War I. It was very similar to Dadaism in the fact that it was anti rationalist (Baroque, n.d.). It started in Paris France and swiftly moved and was accepted around the world. It included all forms of art such as literature, poetry, film and music and moved outside the lines of art to include influences...
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...you. This modern age is filled with visual creations. Fabrics, advertisements, book covers, posters, and so many other things have an artist behind them. We are the people behind the scenes, bringing necessary beauty into this world. Art can also teach us lessons about life, morals, and culture. Art from history tells us of events and movements from certain times in our past. It answers the questions, such as “how did they see things?” and “how was it different from now?” Our future generations will see OUR artwork and can learn from what we had to say....
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...Modern Art in London 18 November 2015 How has the representation of women and female identity changed over the course of modern and contemporary art? Women have always been a common subject of art not only created by male artists, but female artists as well. In the late 1960s, the feminist art movement emerged following the women’s suffrage movement. The art during this era included works that obviously dealt with the female body even if the artists did not fully establish themselves as feminists. On the other hand, there were artists, like Paul Gauguin, who represented women in a different way. He spent some time in Tahiti to change his inspiration for art and discovered different subjects that included young Tahitian women. His pieces were so different from the pieces during the feminist art movement because his art typically did not give a precise purpose or meaning. Feminist art was representing something so powerful that it almost always needed a strict meaning. Another piece of art that almost contradicts the feminist art movement is Olympia by Edouard Manet. Consisting of a nude woman, this painting could suggest the views of women by the artist and even their role in society. Looking at these three different types of art really helps understanding the difference of representation of women over the course of the years. The feminist art movement started in the 1960’s shortly after women gained the right to vote due to the women’s suffrage movement (Feminist art movement)...
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...Pyramids Tomb 2575-2551BCE representing power, extensive labor represents the power that the king had. Male pyramids are in much smaller scale also indicate the power. Very much attached to the afterlife and it meant to be connected to the heaven. How religion practice after the death of the king. Temple is on the east side of the pyramids, towards the direction of the sun. A Garden Pool from tomb of Neb-amon 1400-1350BCE New Kingdom, Egypt nourishment in the afterlife. A fragment of a piece of a wall. Not a perfect square, a fragment with a rough edges of a basic shape of a square. In the fragment, in the center, there is a rectangle representing a pond, pool with a gray boarder with graphics of plantations. Within the pool, there are wavy lines representing the ripples and fish and ducks and other types of animals swimming in the water. The water is really rare in desert and this image shows that it may be a natural oasis or a manmade pond. There are food and water for the afterlife. Fowling in the Marshes From tomb of Neb-amon 1400-1350BCE New Kingdom, Egypt Banquet Scene 1350BCE Music, dress, people with clothes and head. Abundance of jewelry, representing social level. A Garden Pool from tomb of Nebamon 1400-1350BCE New Kingdom, Egypt https://classconnection.s3.amazonaws.com/1025/flashcards/672836/jpg/tomb-of-nebamun-4.jpg Counting the Geese, 1400-1350 BCE from tomb of Neb-amon, New Kingdom, Egypt how things were distributed, the...
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...RESEARCH PAPER FFD 122: History of Art and Design 2, Spring 2010 GUIDELINES 1. PURPOSE OF THE RESEARCH PAPER: One of the aims of History of Art and Design is to develop a historical and critical sensibility about artistic and cultural production. To test this ability, you will prepare a research paper about an object of art or design of your choice, based on the “Five Contexts of Art and Design” topics of this semester: MAKING, STYLE, IDEOLOGY, USE and MEANING. 2. CONTENT OF THE RESEARCH PAPER: Your chosen artwork/design CAN NOT be from an artist or an example that has been discussed in class. Check the course syllabus for a list of all works that are in the lectures. You are advised to choose a well-known work of a famous artist/designer so that you can easily find sources related to that work. You are discussing your chosen object, NOT its photograph. Do not talk about your object’s image but its ACTUAL three-dimensional reality, as much as you can understand it. Keep in mind the sub-themes for each of the themes of the semester because you will write about ONE sub-theme from each theme. | | | | |MATERIALS: How the choice of materials made by the artist or designer influences the form of the end | | |product. ...
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...3 Art in early years of the 21st Century .............................................................................................. 4 Actor Network Theory .................................................................................................................... 6 Networking art connections in museums ....................................................................................... 8 Dhari a Krar ..................................................................................................................................... 9 Strategy for translation ................................................................................................................. 11 Conclusion ..................................................................................................................................... 13 2 Abstract This paper will attempt to highlight in what manner western museums curate contemporary indigenous art in this modern setting. The main focus of this paper is how current means of understanding of non-western indigenous art does not completely allow to translate the culture successfully in order for museums to represent other cultures not just to appreciate art but also translate it accurately. Ruth B. Phillips took a personal interest into this matter after travelling to West Africa and documenting the practices and the culture of the Sande society. After her journey Phillips felt that non-western indigenous art such...
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...gggggggggggggggggggggggggggjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj Free American History Essays and Papers www.123helpme.com/search.asp?text=American+History Free American History papers, essays, and research papers. History Essays | Find Your Free History Essay - UK Essays www.ukessays.com › Essays View hundreds of history essays online from the most reliable custom history essay writing services company in the UK. American History: Speeches and Essays - Download free content ... https://itunes.apple.com/us/itunes-u/american-history.../id384514823 Download or subscribe to free content from American History: Speeches and Essays by University of South Florida on iTunes. Free Essays On History - eCheat www.echeat.com/26/Free-Essays-On-History.aspx Free essays on History available at echeat.com, the largest free essay community. Free history essays website | Facebook https://www.facebook.com/freehistessays Free history essays website. 3 likes · 0 talking about this. History Essays - Free Essays :: Paper Writing www.freeessays.cc/db/26/history/ Research database of history essays for...
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...Shuo Sun – Anthro R5B - Final Paper Outline Abstract: In “The art of not being governed”, James Scott uses the example of the hill people living in the mountain region of Zomia and argued that instead of being primitive form of living, barbarians, or human beings leftover from pre-state era, these hill people deliberately move to inaccessible region to avoid state control. Scott states that the inaccessibility of the hills make them natural escape routes that can be used to avoid the sovereignty of state government. Scott briefly talks about the examples of how the defeated Kuomintang in the 1950s and the remnants from Taiping Rebellion both escaped to the mountains, but fails to talk about what happen to these people after that. In this paper, I would like to work on this missing information and find data to evaluate whether these people converted themselves to hill people permanently or did they use the resources in the hills to fight back against the state. The aim of this paper is to find out whether the primary or secondary sources concur with Scott’s arguments and discuss about the mechanism of using hills as escape routes in more details. Outline: 1. Introduction: The section introduces Scott and his book, “The art of not being governed” and points the reader to the specify topic that I will be focusing on in this paper. There will be a few sentences talking about the rationale and importance of this paper. (0.5 page) 2. Theoretical background: This section...
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...ART HISTORY 461: NON-WESTERN ART Instructor: Bridget V. McDaniel, Assistant Professor of Art Office/Hours: SFA 112B Contact: 475-5870 / bmcdaniel@mcneese.edu Required Text: Gardner’s Art through the Ages Non-Western Perspective 13th edition COURSE DESCRIPTION Topics in non-western history. Open to non-art majors. 3 credit hours. PREREQUISITE None. COURSE GOALS 1) Emphasize effective communication in written English; 2) Introduce the relationship between reading and comprehension in the discipline; 3) Emphasize critical thinking and abstract reasoning skills; 4) Emphasize technology applications; 5) Emphasize student recognition and appreciation of cultural diversity; STUDENT LEARNER OUTCOMES Upon completion of the course, students will be able to do the following: 1) Effectively demonstrate an understanding of the rhetoric appropriate to the discipline and construct logically ordered and developed responses to art historical questions and issues; 2) Differentiate between main ideas and supporting details as well as distinguish between fact and opinion in relation to the artists, styles and artistic periods; 3) Demonstrate the ability to identify and dispel misperceptions pertaining to artists, their work and period; make reflective decisions regarding the inclusion of artwork within a specific period; 4) Use technology as a resource for study, as well as for communication; 5) Distinguish and categorize the painting, sculpture, architecture, etc. across various cultures...
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...plane. The main focus of this paper is to research how the new technologies pushed the boundaries of perspective projection distortion in the digital art world. I will explore contemporary artists’ work like William Kentridge’s anamorphic animation, lights and shadows installations by Kumi Yamashita, Felice Varini ‘s optical art, and Amon Tobin’s stage performances. This paper will focus on a few selected artists in order to illuminate noticeable contrasts that have occurred over time in the realm of digital art. To address the various mediums, techniques and methods within this broad subject would be a staggering task. This is why only a few key subjects will be addressed. One subject will be to analyze how methods of visualization in digital art have evolved, since this aspect is directly responsible for the perception and aesthetic value of the majority of digitally displayed mediums. We need a new approach to linear perspective that relates it to the more general development of projection methods, and yet something more than that provided by nineteenth century historians of mathematics and science who were searching for the origins of descriptive geometry. It is not just a question of how the laws were discovered. Needed is a history of how these laws became recognized as being independent from Euclidean theories of vision: a history of how laws of projection and theories of vision were and were not applied to the visual arts. Such a history will need to emphasize that the...
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...As I enter my first college class, my attention goes to Professor Feldman, a tall, slender woman in a loose pearl blouse with black dress pants. The combination of her graceful stance and scholarly presence distinguishes her already from the chaos of the lecture room. The calm demeanor spreads through the room as she gradually turns the lights down low, signaling the beginning of lecture, and gives life to the art historian’s companion, the slide projector. Her slow and steady speech is punctuated by inflections at nearly every other word and reflects her scholarly presence. She picks her words carefully and you can sense the moment’s thought before each. Her precisely chosen words make each one valuable as I frantically try to catch them all. Feldman incorporates her elevated vocabulary in daily speech and lecture, requiring that I form my own vocabulary list: mélange, koine, cache, lingua franca, etc. In spite of being intimidated by Professor Feldman’s scholarship, the fellow human being, Marian Feldman, shows through at times. She does not hesitate to admit “When did those excavations take place?” or “Who was that guy who ruled Babylon? I never remember that one.” At one point she might exclaim, “Well, it doesn’t matter anyway” followed by a signature chuckle. She welcomes corrections or additions by students, and some questions lead her to guiltily admit, “You caught me. I was trying to avoid that one because, well, we just don’t...
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...“ultimate” graduate profile. Following program chairs’ agreement, the material will go to the full faculty for discussion and vote. I will also gather input from Student Affairs so that we understand their contribution to the success of our students. Readings about assessment and what it is are attached.* As I mentioned earlier, we will be working our way through this process together, and developing our assessment program in relationship to the goals and values unique (and/or integral) to this institution. Additional readings are on reserve in the library, and an enormous amount of information is available on the web. *Distributed at the Program Chairs meeting on 9.9.2008 MISSION Maine College of Art delivers a demanding and enlivening education in visual art and design within an intimate learning community. We teach each student how to transform aspirations and values into a creative practice that serves as the foundation for a lifelong pursuit of personal and professional goals. VALUES o Maine College of Art’s educational philosophy is built on the premise that focused individual attention and meaningful collective inquiry produce the conditions in which students’ voices can find strength, clarity, and purpose. o Our faculty of practicing professional artists, designers, writers, and scholars are committed and passionate educators who consider their classrooms to be extensions of their creative work. o We give our students the tools they need to take risks...
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...Rockwood School District Research Paper Guide Revised 2008 Table of Contents What is a Research Paper?................................................................................................................2 How to Efficiently, Effectively Conduct Research and Evaluate Sources .......................................3 What Types of Information to Collect ..............................................................................................6 How to Write Source Cards for a Research Paper ............................................................................7 How to Write Note Cards for a Research Paper .............................................................................11 How to Write a Thesis ....................................................................................................................14 How to Write an Outline ................................................................................................................15 How to Structure Writing in a Research Paper ...............................................................................16 How to Integrate Quotes .................................................................................................................17 Internal Documentation ..................................................................................................................18 Works Cited Page ..............................................................................
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...Final Paper Art Appreciation Due Sunday December 7th Noon NOTE: Late papers will be graded down accordingly and will NOT be accepted past the 8th !!! Your final will consist of a paper that spans the terminology and knowledge you attained in this course. Your paper should be five pages in length with corresponding images attached to the END of the written portion. Sources must be listed at the end of the written portion, this is not included as a part of your five page minimum. Do not use Wikipedia as your main source of information (I will know!!) Yet you can use Wikipedia as a starting place for your research (at the bottom of most Wikipedia pages there are a list of source links that you can use as a source of information.) Papers are to be double spaced and maximum type is 12pts. Please, Please, PLEASE spell-check. When dealing with art and terms it is very important that you use the correct terms and vocabulary! Points will be taken off for poor grammar. Artist that you can do are: Gustav Klimt, Louise Nevelson, Kathe Kollwitz, John Singer Sargent, Auguste Rodin, Vincent Van Gogh, Edvard Munch, Diego Rivera, Georges-Pierre Seurat, Wangechi Mutu, Camille Claudel, Georgia Okeefe, or an artist that you and I will discuss if you have a specific artist in mind. The information you provide should include artist history, history of the movement that the artist belonged to (if any), Your personal reaction to the art (before and after your investigation...
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...Caroline Barnes and Simon Jackson This paper offers a critical reading of Robin Boyd’s narrative of the Australian nation created for Australia’s pavilion at Expo’70. The critique offered is from an environmental perspective, using this example to lead into a broader reflection on Australian design history’s ‘modernity problem’. We argue that although the examination of Australia as a socio-cultural context for the practice of design continues to engage scholars, the will to profess the existence of progressive Australian design has precluded significant examination of design’s regressive effects. The current environmental crisis is, as Arturo Escobar argues, ‘a crisis of modernity, to the extent that modernity has failed to enable sustainable worlds.’[1] Design is implicated here for its contribution to environmental degradation, as is design history for accounts that validate designers’ development of concepts, processes and products that impose the unsustainable on societies. The latter is pronounced in Australian design history. When modernity and its cultural manifestations are understood as European inventions, admitting limited scope for cultural exchange, claiming historical significance for Australian design inevitably involves the uncritical application of imported principles.[2] The halting attempts to write Australian design history are mostly bound up in proselytizing for the values and benefits of the modern and eulogising designers’ efforts to force change in the...
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