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Essay / Research Paper Abstract
This 7 page report discusses the grand pyramid
entrance to the famous Louvre museum in Paris. Designed by Chinese-American architect
I.M. Pei, the pyramid generated a great deal of controversy over the actual design, the
future of French culture and design, and the fact that such a truly French institution was
being changed by somebody who was not French. However, the pyramid has now come
to be viewed as a great architectural and stylistic success. Bibliography lists 5 sources.
Page Count:
7 pages (~225 words per page)
File: D0_BWimpei.rtf
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Unformatted sample text from the term paper:
the interpreter fits his or her own impressions into certain parameters as surely as the art work itself. It is also important that student recognize that in order to understand
that art, be it music, literature, architecture, or the visual arts, he or she must acknowledge that it is a reflection of the way people think and behave. It
is also a precursor to where the society is going because it involves the processes of past and present in a way that suggests the future even as it serves
to mirror the present. Plato (and, by extension, Socrates) held that art should be judged according to its truth, but it can only provide a "true opinion" since it must
be judged by external standards. It is those external standards that are often the most telling in terms of the underlying historical perspective offered within the art. Therefore, the
"truth" of I.M. Peis design for the entrance addition to the Louvre in Paris, France, must be considered and analyzed as thoroughly as the actual structure. One of the many
truths associated with the Pyramide du Louvre of the Musee du Louvre is that its the Shanghai-raised, U.S.- trained architect is as controversial as the actual building. (An adjective often
preceding his name is "iconic.") For one thing, the idea that an American would be commissioned as the designer altering one of Frances most sacred institutions, the Louvre, was an
affront to many people of many nationalities, not just French. Another affront was the fact that such a radical design could be "tacked on" to the stately and traditional museum.
Ieoh Ming Pei and the Louvre Hinnish explains that: "Ieoh Ming Pei (pronounced: eeyo ming pay), the son of a banker, was born in Canton, China, in
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