Abstract
This paper discusses the emergence of figural representation in Greek funerary pottery of the geometric period in a tradition which previously had none. The writer provides the historical and cultural background for the subject and explains the reason why this period is known as geometric. One of the earliest examples showing a figural composition, the Dipylon Amphora, and a slightly later work, the Geometric Krater, are discussed in detail. The writer explains that, although the figural representations on funerary pottery are visual windows into Greek life, belief, and culture, they do not provide sufficient information to enable archaeologists to determine how and why figural representation developed and then evolved in a Greek funerary context.

From the Paper
"By the time of the 8th century BCE, well into the Geometric period, Greek society provides numerous examples of an increasingly sophisticated social order, which included the arts. A social stratification meant that the wealthy could afford or command some truly impressive artistic works, including funerary pottery (Kleiner 101). The Geometric period is the earliest phase of "Greek" civilization, and is so named because of the abstract patterns that decorate many manufactured objects, especially pottery (Moore, 13). In the Geometric period we observe the first figural compositions since the Mycenaean palace destructions, occurring sometime around 1100 (13). Found artefacts in the Geometric are primarily funerary or dedicatory, and occur in relation to the rise of a "temple economy.""

Tags:myth, Eleusis Vase, Homeric Athenian, burial custom, bronze soldier value

Abstract
This essay discusses the iconoclastic Controversy in the Eastern Orthodox Church and its defense by John of Damascus. It follows John's separations of the topic and explores what each argument entailed and the resistance which it faced. It outlines both the strong and weak points of the argument and how each issue was solved.

From the Paper
"It seems that art is such a natural part of everyday life. It would be difficult to picture a world where art was not involved. From the flower pots outside on the window sill to the mounted picture in the living room, art pervades every aspect of our lives. It is difficult to imagine that there was a controversy over whether such type pf media should be allowed in a Church setting. The word icon usually describes those religious pictures-mainly portable wood panel paintings-which have a prominent place in the life and worship of the Eastern Orthodox Churches (Baggley, 1). The Iconoclasm controversy dealt with the debate over whether painted images of the Divine Christ were valid or idolatrous. Popular culture felt that the icon was a necessary part of their worship because it gave them a sense of understanding. It gave the worshiper a visual image of what he/she was praying to and so, made the person feel that his/her prayers were not futile and wasted. However, it was these exact beliefs that sparked the controversy, but also led to the writings in defense of the images. John of Damascus was one of the greatest Christian defenders of the iconodule position (Sch nobon, 192)."

Tags:damascus, john

Abstract
The works of the renowned Dutch master Vermeer (1632-1675) are comparable to Japanese art due to their dual appreciation and representation of unfilled space. He depicts subtle shades of luminous highlights, all incorporated within a meticulously ordered arrangement. The paper discusses the paintings 'The Geographer,' 'The Woman Holding the Balance' and 'The Music Lesson' - all of which echo ideas established by Japanese art. It shows that these paintings reveal an era where the general interest lay in exquisite furniture, beautiful women and extravagant attires. These carefully observed and accurately drawn paintings of the 17th-century were branded by a geometrical sense of balance, order and refinement; their suggestiveness analogous to the Japanese design.

From the Paper
"The Japanese aesthetic, Wabi-Sabi, is the ability to discover the beauty of imperfection. Similar to Zen Buddhism, Wabi-Sabi cherishes qualities that are earthy, modest, rustic and unassuming. Ordinary items are appreciated for their seeming beauty, such as budding flowers. Many Japanese landscape paintings portray nature when it's growing instead of when it's full-blossomed; it allows for our imagination to finish what it began. It stirs up the internal quintessence of an object but only provides a subtle presence; rationale is secondary to perception; mood means more than an accurate depiction. This deliberately suggestive style allows for the beauty incompleteness and omission to be valued."

Tags:camera, obscura, tranquility, The, Milkmaid

Abstract
This paper examines how the exchange of artisitic ideas between Ancient Egypt and the Mediteranean is undisputed and how a comparison of fresco is also relevant and illuminating. It briefly examines two Egyptian Fresco's from the New Kingdom period, namely "Fowling Scene" and "Musicians and Dancers", comparing and contrasting the Egyptian styles with three Minoan frescoes including the so-called "Toreador Fresco", as well as "Young Fisherman with His Catch" and "Landscape with Swallows".

From the Paper
"The vivid artistic detailing of Fowling Scene, in addition to the motion and vitally portrayed by the artist(s), is astonishing. The boat on which the family travel is richly detailed, even the wood grain is observable. Papyrus plants grow in a great swath, surging out of the water to the left of the boat. Below the boat, in the water, the details of the fish "show a naturalism based on careful observation" (67). In his right hand, Nebamun clutches three birds he has just caught, while his left hand grips his throwing stick. A large number of birds have been startled into action out of the papyrus swamp, and are shown both perching in various places, as well as in flight. Most curiously, an orange cat, perched on a bowing papyrus stem, has caught a large bird in its mouth and two more in its claws."

Tags:aegean, catch, dancers, fisherman, fowling, landscape, musicians, scene, swallows, toreador, young

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 traces the development of the history of art in Ancient Mesopotamia through a specific study of four well known and well preserved pieces of art. The range of dates runs from 2600 B.C. with an examination of the "Standard of Ur", through to 260 A.D. and the "Triumph of Shapur I". It looks at how this period of art history is critical to an understanding of the art of the ancient world and logically precedes Egyptian, Minoan, Greek and Roman Art.

From the Paper
"Of Standard of Ur's two main sides, the 'war side' has immediately recognizable conventions similar to those found in Triumph of Shapur I; four-wheeled war chariots ride down enemies, the bodies of which are trampled beneath the hoofs of the animals. The depictions of war and victory are common motifs in Mesopotamian art. Here, as in Triumph of Shapur I, conventionalization is used, and the four bodies trampled beneath the war chariots, like the trampled body of the Roman soldier from Bishapur, represent the many killed. On the middle tier, the victorious army leads away naked and defeated captives."

Tags:ashurnasirpal, shapur, standard, ur

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

From the Paper
"The work is quite simple, using simple artistic devices in order to capture this couple's one timeless moment. It successfully portrays joy pulling the viewer into the painting's depths with its brilliant use of color and shape, creating another reality. It's as if you are looking at these lovers through a glass panel, distorting them and melding them together until they themselves look as smooth as the glass that protects them."

Tags:edvard, munch

Abstract
This paper examines how the Egyptians were a civilization that impressionably influenced Western society and they did so through their artwork, architecture and literature, which permeated Western society?s thought and created an architectural intrigue which still exists in present day. Incorporating a vast amount of primary and secondary resources, this paper is a detailed analysis of the Egyptian legacy.

From the Paper
"Egyptian literature varies widely including Pyramid texts, which were named for their location - in the pyramid tombs of the pharaohs, stories, hymns, wisdom texts, poems, love songs, biographical and historical texts, scientific treatises, and mathematical and medical texts. The Pyramid texts are the oldest and most popular form of Egyptian literature. They coincide with the rise of pyramids in the Old Kingdom. They served as a way to guide the tomb owner to the afterlife, enchanting him with incantations to secure his safe passage, sometimes describing his achievements on earth in order to gain favor with the gods."

Tags:architecture, egyptology, humanities, literature

Abstract
Beginning with a definition of the term renaissance, this paper explores, through specific examples of writing, art and architecture, how and why the Italian renaissance may be characterized as a glorification of human power and human activity. Petrarch and his contemporaries are presented as examples of a return to classical idealism in Europe. Further, an exploration of the dignity of man, as well as renaissance art and architecture are detailed, giving weight to the paper's thesis. Specific art examples discussed in the paper include the Merode Altarpiece (1425-1428) by Master of Flemalle, Michelangelo Buonarrotis' David and Bramante's Tempietto.

From the Paper
"The Renaissance, from the French word renaissance and the Italian word rinascita, both meaning rebirth, is considered by some to have officially begun in 1341 when Francesco Petrarch (1304-1374) was crowned in Rome with the Laurel wreath, the ancient symbol of victory and merit. Petrarch, as one of the first humanist writers, explored modern life through the lens of the ancient Romans and Greeks. Both Petrarch and his contemporary Boccaccio (1313-1375) "were famous in their own day as poets, scholars and men of letters - their achievements equivalent in honor to those of the heroes of civic virtue." As the word humanism suggests, the principle concerns of its advocates were human values and human interests, which are distinct from, but not entirely opposed to, the other worldly values of Christianity."

Tags:bramante, merode, michelangelo, petrarch