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16391 Ishtar Gate and Dragon of Marduk The Dragon of Marduk (a sculpture) was created during the Neo-Babylonian Mesopotanium years of 604/605 BC. The Dragon of Marduk was made from molded, glazed bricks. ?The mythical Dragon of Marduk with scaly body, serpent?s head, viper?s horns, front feet of a feline, hind feet of a bird, and a scorpion?s tail, was sacred to the god Marduk, principal deity of Babylon? (Detroit 2003). The Dragon of Mardak and the Ishtar Gate were important to the Babylonians and their beliefs.
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16406 THE AMERICAN EFFECT EXHIBITION In this paper I will discuss my personal response, as an American, to the American Effect Exhibition, which is on view now at the Whitney Museum of American Art from July 3 through October 12, 2003, in their Emily Fisher Landau Galleries, Floor 4. After describing my personal response, I will explore the reasons for my response and then discuss what message I think this exhibit sends.
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16447 A description, analysis, interpretation, and evaluation of the painting: Camillus and the Schoolmaster of Falerii by Nicolas Poussin. This paper will give a description, analysis, interpretation, and evaluation of the painting: Camillus and the Schoolmaster of Falerii, by Nicolas Poussin. We will analysis the historical period of the 1630?s, the period when the painting was done, and we also discuss specific details of the paintings, from who is general Furius Camillus , who is the school master, and what is happening in this gruesome scene. We will also consider the idea of neoclassicism, as well as how Nicolas Poussin bridges the gap between the baroque and the classical periods. The larger question that we will attempt to answer in this paper is: How does the story of Camillus and the Schoolmaster of Falerii reflect the views of that period, or of the painter, on good and evil, or possible between shapeless ugliness and harmonious form?
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16553 A Brief Synopsis of Part One of Art Through the Ages by Helen Gardner This paper will examine the chapters of Art Through the Ages by Helen Gardner, and seek to generalize the findings the author gives for art history. By understanding the major accomplishments of each civlization acquired here, we can see how this synopsis will show the high points of Gardner's approach to understanding ancient art. Also, examined will be the chapter by chapter analysis of what reasons these civilizations created their means of art.
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16576 Women?s (Art)Works: Meret Oppenheim, Leonora Carrington, and the Plight of Women Surrealist Artists in Inter-war France This 15-page graduate essay examines the plight of women Surrealists in inter-war France. The paper argues that women artists were marginalized because they were already being appropriated by male artists as muses, as symbols, and as models. Some women - such as Jacqueline Lamba -were actively discouraged from their work while others were simply not taken seriously as artists. This paper considers the ways in which women were marginalized, as well as some of the recent scholarly work being done regarding these artists. The paper concludes with a closer reading of Meret Oppenheim?s Le Déjeuner en fourrure (1936) and Ma gouvernante (1936) and Leonora Carrington?s Self-portrait: ?A l?Auberge du Cheval d?Aube? (1936-7) and Horses (1941), works which resist the tendency to symbolize women by highlighting the essentially ambiguous and tenuous nature of symbolism.
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16711 The Fauves and the French Tradition. How and why did Matisse and Derain invoke the 'French Tradition In this paper we will examine the Fauves and the French tradition of Art. We will focus our paper on the fauves movement, in particular looking at the work of Henri Matisse and André Derain. As a way to organize our discussion, we will first examine the history of the French tradition in art by looking at some of the main contributors, this way we can see how both Matisse and Derain invoke this tradition. We will also examine the artistic outputs of both Matisse and Derain before and leading up to the fauvist movement.
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16740 Neo-Classicism and the Return to Order After World War I In this paper we will explore the parallel between the return to order in France after WWI and the emergence of a neoclassic style in Art. In particular, we will look at how the images of women contributed to the reemergence of a more representational style, a classical style. We will look how this style was ushered in by the image of one particular woman, Olga Khokhlova, the first wife of Pablo Picasso.
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