Art Custom Essay samples, Free samples: college essays, admission, argumentive essays


	▪ American History ▪ Art American Fine Arts Andy Warhol Art and Religion Art in Third Reich Art of Ancient Greece Aztec and Mayan Art Byzantine Art Carolingian Art Christian Art Expression Identifying and Evaluating Art Mass Art Modern Art Monet and Impressionism Persian Art Postminimalism Prehistoric Chinese Art Rococo Period Romanesque Art Stone Age Art Surrealism Understanding Art ▪ Biographies ▪ Business ▪ Case Studies ▪ Communication & Media ▪ Computer Technologies ▪ Controversial Topics ▪ Culture ▪ Economics ▪ Education ▪ Environmental Issues ▪ Finance		▪ Geography ▪ Health ▪ History ▪ Internet ▪ Management ▪ Media ▪ Philosophy ▪ Politics ▪ Religion ▪ Roman History ▪ Science and Technology ▪ Sociology ▪ World Literature


	The History of HIV/AIDS

	Imagine a disease that was usually fatal and could spread each and every time two people have sex. Now imagine that that disease progressed so slowly that it took an average of ten years from the time of infection until the infected person's death, sometimes as much as twenty years. Let's also imagine that the disease was caused by a virus so small, a mere 130 millionth of a millimeter in diameter, that if it was magnified several times, it still could not be seen with the naked eye. And what if the disease affected mostly people in the prime of their lives, rather than at the end of their years? And what if the disease produced hideous symptoms like purplish blotches on the skin, extreme fatigue, and severe weight loss? And imagine that disease was new and spreading around the world at an alarming rate, infecting tens of millions of people.


	▪	Alternative Schooling
	▪	Freedom of Speech: Hustler Magazine v. Falwell
	▪	Homosexuality: Biology and/or Culture?
	▪	Fossil Fuels: Coal, Gas, and Petroleum
	▪	Generating and Transmitting Electricity
	▪	Rise of the Steel Industry
	▪	The Development of the Automobile
	▪	Extinction of Species
	▪	Legalization of Drugs
	▪	Corporate Social Responsibility
	▪	The U.S.A. Patriot Act
	▪	Death Penalty Contradictions
	▪	The Right to Die
	▪	Affirmative Action: Pursuing Fairness
	▪	The Abortion Reform Movement
	▪	Puritanism in America
	▪	Early Christian Art
	▪	Theodore Roosevelt
	▪	Labor Rights
	▪	Medieval Chivalry
	▪	Understanding Marijuana
	▪	Medicine in the Classical World
	▪	Health Care Policy in the US
	▪	Psychedelic Drugs Abuse
	▪	Ethics of Doctor-Patient Relationships
	▪	Religion of Rome and Early Italy
	▪	Standardized Testing
	▪	Economics of Alfred Marshall
	▪	Confucian Moral Self Cultivation
	▪	Genocide in Rwanda
	▪	Andy Warhol
	▪	Accounting Ethics
	▪	Benito Mussolini
	▪	Anthony Comstock
	▪	Henry Ford
	▪	Bram Stoker
	▪	The Television Industries: Broadcast, Cable, and Satellite
	▪	Online Gambling
	▪	New Spain
	▪	Homeopathy
	▪	International Financial Flows
	▪	Experiencing Culture Shock
	▪	Computer-Mediated Communication
	▪	Political Advertising
	▪	International Human Rights
	▪	The Iran-Contra Affairs

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Art Custom Essays samples

▪	American Fine Arts


	American Fine Arts

	The term fine art was first attested in 1767, as a translation from the French term beaux arts. It referred to the arts that were "concerned with beauty or which appealed to taste" (SOED 1991). The term has been used to designate a limited number of visual art forms, including painting, sculpture, and printmaking, and is still used by schools, institutes, and other organizations to indicate a traditional perspective on the visual arts, often implying an association with classic or academic art. The word "fine" does not so much denote the quality of the artwork in question, but rather the purity of the discipline. This definition tends to exclude visual art forms that could be considered craftwork or applied art, such as textiles. The more recent term "visual art" is widely considered to be a more inclusive and descriptive phrase for today's variety of current art practices, and for the multitude of mediums in which high art is now more widely recognized to occur. The term is still often used outside of the arts to denote when someone has perfected an activity to a very high level of skill. For example, one might say that "Pel� took football to the level of a fine art." That fine art is seen as being distinct from applied arts is largely the result of an issue raised in Britain by the conflict between the followers of the Arts and Crafts Movement, including William Morris, and the early modernists, including Virginia Woolf and the Bloomsbury Group. The former sought to bring socialist principles to bear on the arts by including the more commonplace crafts of the masses within the realm of the arts, while the modernists sought to keep artistic endeavor exclusive, esoteric, and elitist. Today the term is often improperly used to give any artistic discipline an emphasis that implies higher quality. If in doubt, determine if a "Master of Fine Arts" or MFA degree can be obtained for the discipline. If so, then it is almost certainly a "Fine Art", but this does not prevent an MFA-holding individual from creatng "bad art".

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▪	Andy Warhol


	Andy Warhol

	Andy Warhol was queer in more ways than one. To begin with, he was a fabulous queen, a fan of prurience and pornography, and a great admirer of the male body. This queerness was "known," in one way or another, by the gay audiences who enjoyed his films, the police who censored them, the gallery owners who excluded his sketches of male nudes from exhibits, the artists who were made uncomfortable by his swishiness, not to mention the drag queens, hustlers, speed freaks, fag hags, and others who populated the Factory. Considering then, on the one hand, that many people knew enough about Warhol's sexuality to let it guide their response to and evaluation of him and his art and, on the other, that Warhol has become a central figure in work on postmodernism, the avant-garde, mass culture, film studies, high art/low art, and American art history, we might expect that there already would be a rich body of criticism exploring, appreciating, celebrating, or at least mentioning the role of Warhol's queerness in the production and reception of his films and art.

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▪	Art and Religion


	Art and Religion

	Art and religion belong together by identities of Origin, Subject Matter, and Inner Experience. Religion and art were one and the same thing before either of them became consciously regarded as a distinct human interest. The principal subject matter of the world's artistic treasures is religious. The experience of faith and the experience of beauty are in some measure identical. In these three ways there is displayed the unity of religion and art. I am not here interested to elaborate them, but the numbers of religious leaders who have no interest in the arts, and the numbers of artists who have no participation in the life of definite religion need all to be made aware of these facts.

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▪	Art in Third Reich


	Art in Third Reich

	It is possible to gain an overview of artists during the Third Reich because they were regulated by the professional organization, the Reich Chamber for the Visual Arts. Although this neocorporatist body turned professionalization models on their head because the organization stemmed from above, rather than from the members themselves, there can be no doubt about a professional identity for the vast majority of the practicing artists during the Third Reich. The Reich Chamber for the Visual Arts was designated a public law corporation and, as such, had the power to regulate the issues that were important to the artists' professional livelihood: training, economic conditions, awards, among others.

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▪	Art of Ancient Greece


	Art of Ancient Greece

	With the destruction of Knossos in approximately 1400 B.C. the chain of historical events is interrupted. But this does not constitute the end of the first epoch in European history - an epoch that lasts up to the time when metals found their way into the Aegean. This is already evident from the fact that the Bronze Age continues in this area for another three hundred years at least. In art history, too, the Minoan style is still predominant in this phase. The centre of development has shifted from Crete to the Greek mainland. Thus production now spreads to the whole Aegean - whereas in the Palace period it was concentrated in Crete. From the time of Schliemann onwards the term 'Mycenaean culture' has been common usage in regard to the developments to be dealt with here. It would also be possible to speak of a Late Bronze Age in the Aegean. But the decisive factor in determining the different character of these three centuries is not the shift in area but the fact that a different people has now taken over the lead.

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▪	Aztec and Mayan Art


	Aztec and Mayan Art

	Hernan Cortes' expedition of conquest, an undertaking of world-wide significance, was aimed with astonishing accuracy at the heart of the native civilizations of Central America. The maneuvers of his fleet prior to the landing at Vera Cruz, upon which he set his seal by scuttling the ships, show how systematically the white conqueror and inheritor of the Aztec realm reconnoitered the foreign coasts before deciding to stake everything upon a single throw: his rapid march to the Valley of Mexico and against Tenochtitan, the present-day Mexico city. The enterprise proved as successful as it had been daring. Within two years the Aztec capital was firmly in Spanish hands. This meant that by 1521 Cortes controlled a territory stretching from the Panuco river in the north to the border of what is now Guatemala; at the same time certain neighbouring provinces which were not under Aztec rule, namely the so-called Kingdom of Michoacan in the north-west and the areas to the south inhabited by the Maya and Quiche peoples, fell easy prey. Twenty years later the conquerors held this large territory under their sway, whereby they suppressed the natural customs of the indigenous population and made them subject to a Catholic-ridden Spain which was already moving toward a mercantile system based on colonial exploitation.

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▪	Byzantine Art


	Byzantine Art

	Byzantine art is the term commonly used to describe the artistic products of the Eastern Roman Empire from about the 5th century until the fall of Constantinople in 1453. (The Roman Empire during this period is conventionally known as the Byzantine Empire.) The term can also be used for the art of states which were contemporary with the Byzantine Empire and shared a common culture with it, without actually being part of it, such as Bulgaria, Serbia or Russia, and also Venice, which had close ties to the Byzantine Empire despite being in other respects part of western European culture. It can also be used for the art of peoples of the former Byzantine Empire under the rule of the Ottoman Empire after 1453. In some respects the Byzantine artistic tradition has continued in Greece, Russia and other Eastern Orthodox countries to the present day.

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▪	Carolingian Art


	Carolingian Art

	When the Canterbury illuminations at which we were looking towards the end of my second lecture were made, Charlemagne had already succeeded his father, who died in the year 768. During the next four decades he so extended his empire that it reached the Elbe in Germany and the Ebro in Spain; and included Bavaria, Lombardy and part of Carinthia. When he died in 814 it was as ' Augustus, Crowned by God, the great and peace bringing emperor of the Romans'. In crowning him with this title in the year 800, the Pope had offered him the 'adoration' due to an emperor, and before he died, Charles's claim to the imperial title was recognized by the Emperor of the East.

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▪	Christian Art


	Early Christian Art

	With the adoption of Christianity as the official religion, art was able, so to speak, to come above ground in the old pagan city of Rome, and painting, instead of being restricted to the decoration of the walls of the Catacombs or of small chambers and chapels, came into use on a large scale in the new churches that were at once set up. At the same time patronage moved from the hands of the poorer classes to the richer, and artists of outstanding quality came to be employed as well as those of obscurer character, who would work for small fees. To wall painting was added the more luxurious art of mosaic; numerous sculptures were done, and minor objects, often in expensive materials, were in addition produced in the service of the Church, so that art production became at the same time both more extensive and more luxurious.

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▪	Expression


	Expression

	Against the idea that works of art present a subject matter and the idea that works of art embody pleasing formal arrangements, it can seem important to emphasize that works of art are products of human action� made things, not just either imitations or forms. Without this emphasis artworks can seem either too much like gratuitous reproductions of reality (like mirrors or reflections in ponds) or too much like objects of idle pleasure and amusement (like pretty decorations).

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▪	Identifying and Evaluating Art


	Identifying and Evaluating Art

	The identification and evaluation of objects or performances as works of art (as opposed to failures, frauds, or the otherwise meretricious) is a process fraught with passion and difficulty. We care about some favorite works that we regard as successful�certain books or movies or paintings� in the way we care about our friends. They appeal to us both immediately and deeply. We often remember them, revisit them, reread them, or rehear them. We recommend them to others, and we are then pleased if the work engages them and sometimes disappointed or troubled if it does not. Prices in the art market and publishing industry depend on what people respond to, as does support by governments and foundations for work in progress.

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▪

Mass Art


	Mass Art

	At present, it is a clich� to say that we live in a world inundated with mass art. The amount of time that the average American household spends in front of the television set seems virtually astronomical. The corporations that specialize in the production and distribution of mass art are significant economic players. And the names of the artists who create mass art are household words. This is true not only of actors and singers, but of writers, directors, and producers. Stephen King and Steven Spielberg are better known than many heads of state.

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▪	Modern Art


	Modern Art

	Modern art is a general term, used for most of the artistic production from the late 19th century until approximately the 1970s. (Recent art production is more often called Contemporary art or Postmodern art). Modern art refers to the then new approach to art where it was no longer important to represent a subject realistically � the invention of photography had made this function of art obsolete. Instead, artists started experimenting with new ways of seeing, with fresh ideas about the nature, materials and functions of art, often moving further toward abstraction. The notion of modern art is closely related to Modernism.

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▪	Monet and Impressionism


	Monet and Impressionism

	Monet and Renoir visited La Grenouill�re, a bathing resort on the Seine outside of Paris, where the two of them painted outdoors. The optical experience of sunlight falling on rippling water was recorded on canvas by different brushstrokes. Monet intended to use these riverside paintings to develop other canvases. These paintings marked a turning point in the history of the Impressionist landscape. The more Monet developed his interest in the landscape painting the more he distanced himself from his bohemian lifestyle and his friends in Paris (Welton).

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▪	Persian Art


	Persian Art

	Iran (Persia) is home to one of the richest art heritages in world history and encompasses many disciplines including architecture, painting, weaving, pottery, calligraphy, metalworking and stone masonry.

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▪	Postminimalism


	Postminimalism

	Postminimalism was ushered in by a show titled Eccentric Abstraction, curated by Lucy Lippard in the fall of 1966. She decided to organize the show because the rigors of minimalism, of which she had been an early champion, had made her aware of what was precluded, namely "any aberrations toward the exotic." She also recognized that a significant number of artists had "evolved a . . . style that has a good deal in common with the primary [or minimal] structure as well as, surprisingly, with aspects of Surrealism.

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▪	Prehistoric Chinese Art


	The Prehistoric Art of China

	The oldest continuous civilization existing in the world today is that of China. Until recently, little was known about its ancient past and the Chinese legends of their mythical emperors were generally discredited by historians until the excavations of the last thirty years proved that the beginnings of Chinese civilization stretched back into the remotest antiquity.

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▪	Rococo Period


	Rococo Period

	...It is evident through this painting that Rococo art tends to avoid straight lines and classical symmetry and favors curves, unusual balances, and an abundance of ornamental detail. The structure of Rococo appealed to the newly emerging mercantile class and the aristocrats, who in a bid to ignore the growing unrest, devoted there lives to pleasure and used such paintings as a release from the realities of that day. The Neo classical period was at its height between 1750 and 1880. When the French Revolution occurred French painting returned to a moral and political purpose. Neoclassicism was embraced as the style of the period. The excesses of the Rococo period - all the lavish scenes of wealth - were dropped for a more "classical" type of painting, as they had now turned away from the light hearted and pretty subject matter. The artists of this time sought to paint themes of virtue, pride, and personal sacrifice. In this type of painting, the artist painted with restraint and discipline and the composition is balanced, colours bright, and the work has more soul.

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▪	Romanesque Art


	Romanesque Art

	Among all the great styles known to the history of European art the Romanesque was the last to receive system recognition. The generation which experienced that tremendous "rebirth" which has come to be known as the Renaissance itself already spoke of the revival of a more ancient language of forms, and it is well known that at that time the phenomenon of Gothic art was recognized as a style--though with an underlying rejection and condemnation. And it was exactly the same with the Baroque style. This style was determined by protest against it, having been formulated by men of the late eighteenth century who indignantly defined as "Baroque" the style that was just going out of fashion. If the men of the twelfth century had cared to define and characterize the phenomenon which nowadays we call Romanesque, their definition might well have been found in the protest of Bernard of Clairvaux. However, the first great experience of this art was granted to the gene