Abstract
Addressing multiple interpretations of the piece, this paper identifies and discusses the importance of the content's of Raphael's "School of Athens." It analyzes the figures and architecture in the piece in relation to the philosophy, religion and schools of thought of both the classical and Renaissance time periods.

From the Paper
"Raphael's School of Athens, a fresco located within the Vatican, depicts a gathering of figures that appear to be philosophers and other important thinkers and innovators within an architecturally Classical structure. School of Athens contains many references to the art of the world hundreds of years before, but is also a distinctively Renaissance piece. Detailed observation and analysis provides more information on both the subjects of the painting and details of its setting, as well as insight into the ways Raphael was able to seamlessly blend Classical times with Renaissance times. Further study of the work and its subjects reveals the complex symbolism used by Raphael and reveals multiple levels of interpretation. The work contains so many references, both obvious and slightly hidden, to philosophy, religion, and architecture (and the relationship of these subjects to the culture and thinking of the Renaissance and Classical worlds) that multiple ideas and interpretations of the work are common. In a piece of such depth and detail, one must be able to understand the range of notions about the work and the areas of emphasis placed on certain aspects of the piece in order to truly understand Raphael's accomplishment in School of Athens."

Tags:architecture, art, classical, fresco, history, interpretation, observation, painting, paintings, philosophy, religion, renaissance, symbolism

Abstract
This paper examines art that is produced for a specific site, thereby taking advantage of the unique qualities of that site. The paper provides various examples of works of site-specific art, such as, from the internet, video arena, land, interior, and other genres. The writer also discusses the issue of preserving this type of art.

From the Paper
"Site-specific art must therefore be commodified, due to the significance of its location. Commodification is the process in which a work of art is bought and sold as a commodity. Some artists believe that calling a work of art a commodity, or a unit of trade, is demeaning and reduces its artistic, aesthetic qualities. Site-specific art still retains these qualities, however, such as expression of the artist's feelings."

Tags:environmental, installation, internet, network, video, land, earth, museum

Abstract
The writer argues that, because of Degas' upbringing in a family attempting to appear as nobility, he became interested in "class." Commentary on class structure was a deeply ingrained part of the art world at the time that Degas was in the forefront of the field.

From the Paper
"The later work of Degas began to concentrate on women in the bath, either actually washing, or getting in and out of various tubs. This was a focus on the female body in its most pure form. The fascination he had always shown with women was now given free reign, without clothing or background to complicate his work. It is interesting, though, to note that his interest in class, as well as gender, was still represented. The bathing woman has been separated from most of the social and cultural cues that give the viewer information as to her background. This is another way that Degas demonstrated that his interest in the female form cut across class boundaries."

Tags:society, structure, nobility, art, painting

Abstract
This paper discusses symbolism and meaning that can be found within Michelangelo's painting of the Sistine Chapel, as well as the possible interpretations of the painting. The paper also describes the scenes in the painting and what could have influenced Michelangelo to paint the ceiling the way he did.

From the Paper
"Michelangelo Buonarroti executed one of the grandest works of the Renaissance at the request of Pope Julius II. This work was the famous fresco ceiling of the Sistine Chapel of the Vatican in Rome. Michelangelo undertook this work in 1508 with some trepidation, for a number of reasons. The first being that he considered himself primarily a sculptor, secondly because a painting of this magnitude would keep him from working on a prior commission for the Popes' tomb at St Peter's Basilica. This project required the use of his skills as an architect and sculptor. But with the desires of the Pope on his shoulders, he was forced instead to focus his energies on this massive painting. In the beginning, Julius was interested in a depiction of the twelve apostles, which would replace Pope Sixtus IV's blue sky. Eventually, though, Michelangelo was given a free hand to proceed with the painting as he desired, and the result was one of the most complex and exuberant works ever created. When observing this work, it is to do it a great injustice by not considering it as a theological and intellectual exercise, in addition to being very strong aesthetically. This scholarly consideration raises a good deal of questions about the intellectual programme that motivated Michelangelo. The assumption that the plan behind this work was random is of course a possibility, but considering what we know of both the artist and the time period, it can be accepted that this work was the product of a great deal of religious and historical study. The amount of symbolism within the work is astounding, and because of its great depth and intricacies of meaning, whether or not Michelangelo arrived at this programme independently comes into question. More important, however, is the work itself: its symbols and how the viewer interprets them."

Tags:christian, theological, neo-platonic, medici, court, humanist, savonarola, bible, dante

Abstract
This paper briefly describes Titian's painting, "Venus of Urbino," and then takes a look at the various interpretations of the painting. The paper also explains how the painting differs from earlier paintings of Venus.

From the Paper
"Titian's Venus of Urbino is a painting that may be regarded and evaluated on many levels. It was also in many senses a revolutionary painting. Titian chose to depict this woman's nudity in a way that was very unusual, and has since sparked controversy as to the intent of the painting. There are many possible and opposing interpretations of the painting. Some would call it mere pornography, while others have referred to it as a perfect expression of female beauty. There have also been various speculations as to who the woman who posed for the painting was and how she was related to the artist and the patron of the painting. However, no matter how the painting is judged, it must be regarded as a stunning integration of both human and supernatural beauty."

Tags:guibaldo, della, rovere, II, duke, of, camerino, portrays, lying, bed, nude, bracelet, ring, earings

Abstract
This paper discusses the life and work of Jackson Pollock, who is one of the central figures in the development of the strictly American art movement called Abstract Expressionism. The paper includes his biographical information, description of major works, quotes from Pollock and his critics describing his innovative drip painting style, and an "art inventory" of the 1953 painting called "Easter and the Totem."

From the Paper
"American painter, Jackson Pollock, born in Cody, Wyoming in 1912, was a troubled genius who became known as a quintessential abstract expressionist in the art world of the twentieth century. Pollock, a freedom seeking rebel, was instrumental is the development of the distinctly American abstract expressionist movement in the United States. He became notorious for his drip painting methods and his huge canvases layered with paint and embedded objects. Pollock, known for his emotional volatility and heavy drinking, seen as a phony by some, and a hero by others, used his innovative, individualistic and uninhibited style to birth a new artistic genre in post World War II America. "

Tags:painter, expressionism, biography, works, rebel, painting, post

Abstract
Using a compare and contrast methodology, this paper explores the propagandist values and themes present in both "The Death of General Wolfe" by Benjamin West, and "Oath of the Horatii" by Jacques-Louis David, as well as examining the artistic and stylistic differences of each.

From the Paper
"Eighteenth century virtues such as honour, valour, and love of one's country were believed to produce great people and great deeds (Gardner's 846). Other virtues including courage, patriotism, and self-sacrifice were considered 'natural' and find their place in patriotic or propagandist works of art. The theme of the 'death in battle' of young military heroes has been expressed since antiquity, both in statuary and other forms of art. This same theme of the death of a military hero is portrayed in Benjamin West's The Death of General Wolfe."

Tags:benjamin, classical, david, death, general, horatii, jacques, louis, neo, oath, west, wolfe

Abstract
This paper discusses Michelangelo's work in the Sistine Chapel and delves into the dramatic differences between that fresco and later work done by the painter. Further, the paper explores the cultural development of Renaissance society and how Michelangelo's own changing worldview lead to a shift in the painter's style, tactics and subject matter. The author finds that while Michelangelo's earlier work in the Sistine Chapel reflects his optimistic view of humanity, his later work reflects a new found cynicism.

From the Paper
"The Renaissance was one of the most creative moments in history, but was also a time of internal conflict, foreign invasion, political upheavals and instability. During this time the centre of cultural development switched from Florence to Rome as popes used their wealth to attract and pay the best artists possible in an attempt to make Rome the most beautiful city in the world."

Tags:Michelangelo, The Last Judgement, Sistine Chapel, High Renaissance

Abstract
This paper discusses the use of line, space, shape, form, value, texture and color in Salvador Dali's "The Persistence of Memory". The author explains the way Dali achieved his artistic goal in this painting.

From the Paper
""The Persistence of Memory" is one of Salvador Dali's most famous paintings a visual attempt to portray dreams unconsciousness and hallucinations., In his works Dali often used the seven formal elements of art design line shape form space texture light and color to portray his perception of unconscious states of mind. This analysis will critique Dali's success in achieving this goal via his use of these art design elements. Dali uses a number of straight, curved and wavy lines in his construction symbolizing the ..."

Tags:unconscious mind, subconscious, understanding, dimension, time, clocks, nature, Cape Creseus, feelings, emotions, psyche

Abstract
This paper explores the differences in High Renaissance and Mannerist portraiture through an examination of two key figures in the history of art, Raphael and Bronzino. It also shows how the compare and contrast method is a useful technique for students of art history to focus on the most important aspects and key differences of each respective work and artist.

From the Paper
"Raphael's 1514 oil work Baldassare Castiglione is an excellent example of the artist's portraiture. The subject, the above-mentioned friend of Raphael, Baldassare Castiglione, is portrayed from the waist up, or in half-length. Castiglione is richly garbed in darkly coloured clothing of black and purple, and capped in a dark coloured hat. The life-like Castiglione beholds the viewer directly, though his body and head are not rigidly frontal, but at a three-quarter view; one is reminded of the three-quarter view used in the Mona Lisa. Indeed, such a view became popular in the 1500's. Baldassare Castiglione is one of several works Raphael painted in Rome."

Tags:renaissance, mannerist, rome