Are you in High School, College, Masters, Bachelors or Ph.D and need someone to help in your homework? All you need is to ask for research paper help written by a specialist in your academic field. When you buy an essay online from My Essay Services, we offer you an original, nil plagiarized and unique paper written by a dedicated writer who is PhD or Masters qualified. MyEssayServices.com is an experienced service with over 9 years experience having delivered over 83,000 essays over the years.

Asian Paints Ltd Sample Essay & Outline

The mention of a paint company leads most people think of Asian paints Ltd. This company has been in business for more than ten years since its inauguration. Asian paints Ltd has a total of fifteen non-executive and independent directors who participate in the governance of the company (Asian Paints Limited, 2012). Ashwin Choksi is the chairman to the company and holds a total of 7,870 shares. Ashwin Dani is the vice chairman and holds a total of 208,487 shares. KBS Anand is the managing director and the CEO to Asian paints Ltd. Abhay Vakil holds a total of 2845031 shares. Mehendra Choksi holds 219,618 shares. Amar Vakil holds 1303117 shares. Ina Dani holds 51592 shares. R.A shah holds 1809 shares. In addition, Dr. S. sivaram, Tarjani Vakil, Dipankar Basu, Deepak Satwalekar, S. Sivaram, Mahendra Shah, S. Ramadorai and M.K Sharma do not have any shares in the company (Asian Paints Limited, 2012).

Asian paints Ltd has an audit committee which comprises of four members. The members include Ms. Tarjani vakil (chairperson), Mr. Mehendra shah, Mr. Dipankar Basu and Mr. M.K. Sharma. Members of the audit committee have the expertise in accounting and business management. High exposure in the field of business puts them in a position to give exceptional results. This committee was reconstituted on 28th March, 2013 including Mr. M.K Sharma as an additional member of the committee. The audit committee operates as per the regulations of clause 49 of the listing agreement and section 292A of the companies act constituted in 1956 (Asian Paints Limited, 2012). Its responsibilities include overseeing the company's annual reports, recommending appointments and reappointments, reviewing the financial statements and discussing any significant findings from internal auditors.

Asian paints Ltd is a multinational company whose major business activities include the production and distribution of paints in different regions of the world. The company has branches in seventeen countries across the world. In all these branches, there are adequate manufacturing facilities making Asian paints a leader in paint production over eleven of its branches (Patel, 2013). The business coverage is remarkable and a mark for success. In addition, Asian paints Ltd are one of the pioneer companies in harnessing information technology into their production and marketing procedures. This is essential in maximizing efficiency in all business operations.
Being a multinational company, Asian paints Ltd has offices in several regions, but still has plans of establishing offices in other locations. Nonetheless, the company is run from a central location, Asian paints Ltd headquarters. Asian Paints Company has its headquarters in Mumbai, India.

The company has established business coverage in all its branches. As a result, Asian paints Ltd made a revenue Rs 96.32 billion in 2012 (Patel, 2013). The south Asian market for Asian paints Ltd is a significant and one of the best in terms of the overall sales of paints and related products. Statistically, the company serves consumers in more than 65 countries in different regions of the globe (Patel, 2013). In 2013, international sales were commendable apart from the regional turmoil in Middle East and the poor economic conditions in Caribbean region.

The company targets customers in the decoration and design industry who use paint as the main item to demonstrate their creativity. They use paint for wall decoration, drawing and introduction of different light intensities. The products from Asian paints Ltd are of utility to interior designers, exterior designs and people involved in the construction of structures or furniture. Key products from the company are inclusive of exteriors, enamels, wood finishes and interiors. All these products are decorative and industrial coatings for use on different surfaces.

Asian paints Ltd recorded an increase in profit after tax of 183.24 crores with reference to the previous year. This is commendable progress particularly since there has been an economic backlog in a number of countries where the company operates over the last few years. In addition, the company incurred an income tax expense worth 404.54 crores during the financial year. This was an increase in taxation with reference to the previous year. The total depreciation on company's property and equipment amounted to 99.49 crores during the year (Asian Paints Limited, 2012).

The company has long term liabilities amounting to 201.17 crores by the year 2012. These are inclusive of long term borrowings, deferred tax liability, long term provisions and other long term liabilities. The value of issued capital as at 2012 stood at 95.9. This figure has been constant for the last 8 years which mean that the company has not issued shares for a period of eight years.

The ratio analysis for the company includes items like investment valuation, profitability, debt coverage, management efficiency, profit and loss account and cash flow indicator ratios. For instance, the net sales and operating income increased by Rs. 855 which represents a growth of 20% as compared to the previous year (Patel, 2013). The company has current revenue inform of profit. This could be used to cater for debts in case of bankruptcy. Also, the assets owned by the company can be used to cover for debts in case of liquidation.

References

Asian Paints Limited. (2011-2012). 2012 Annual Report. Retrieved from http://www.asianpaints.com/pdfs/company-info/investors/financial_results...
Patel K.D. (2013). Global study on Asian paints ltd. Oxford school of management, Ahmedabad.

Francois Boucher Sample Essay & Outline

The age of colonialism brought together wide range of themes and subjects from parts of the world that were somewhat new and unfamiliar to Europeans. Among the many artists, Francois Boucher (1703-1770) was one of the artists that were highly associated with putting an effort for a mature Rococo style and spreading its style throughout Europe (the Metropolitan Museum of Art).

The main reason or the strategy was that Boucher worked with all kinds of medium in all kinds of genres, and La Toilette (1742) is one of the examples of the artwork that shows the influence of colonization. His La Toilette shows the influence of colonization with chinoiserie. The display of the subjects in his art as voluptuous could have been influenced by the contact of the west with places such as Africa. The piece of art is more of a reflection of the interactions that the French artist had with the colonial nations.

The art has different influences. There are influences from the contemporary art that have also been strewn with the miscellaneous pieces of Chinese artistic influences. However, the art still is laden with different authentic details (Hyde and Boucher, 78-98). The mix of the authenticity and the external influences creates a relatively convincing effect that the artist was still influenced by the artistic influences in his homeland. The chinoiserie is vivid in the aspects that are included in his paintings. The painting is of a woman being handed a cap by the servant. The influence of the art is majorly associated with the Chinese art.

The inclusion of different porcelain in the portrait is indicative of the influence that the colonization of the far lands had led to the development of a lasting effect on the artistic influences in the west (Stein, 598-604). For instance, the artist was involved in the development of different pieces of art including the design of porcelain. The artistic influences that the artist had developed were inspired by the chines in that there is different exquisite porcelain that could only be imported from the Chinese colonial lands. The decision to include various pieces of porcelain in the art could have been influence by his fascination with the porcelain and clay works (Hyde and Boucher, 78-98).

The artists indicate a strong appeal for the chinoiserie. The ways of the west were different from those of the eastern nations. The majority of the artist influences in the figure are more influenced by the captivating effect that the chinoiserie had over the western nations (Stein, 598-604). Boucher identified this need and was capable of copying and interpreting the chinoiserie stylistic orientation. In the painting, Boucher displays the women as if they have the Asian faces as opposed to the western born structure. He also displays the gayness and voluptuous nature of the east. The painting indicates the delicacy and vivacity.

In as much as he does not stray from the western ideas of class and refinement, he focuses on the display of the painting in an authentic manner. One of the sources of authenticity in the painting is the ability of the painter to portray the Chinese costumes and physiognomies (Stein, 598-604). The ability creates the feeling that the painter as in china when completing the piece of art.

The inspiration to paint the subjects of the painting in the ways of the Chinese comes from the travels from the major explorers in the west who later wrote books about the perceptions and the impressions that they had had of the Chinese. There is also an inspiration to draw the painting in the given light that come from the products that the travelers brought back from their travels. Boucher was an enthusiastic collector with varied products from china to inform his paintings. His ability to collect objects and understand their influences made him create a more authentic feeling in his paintings, which was far removed from the artists of the previous periods.

Boucher is capable of creating inventive and surprising art. He integrates the art from the interactions of the west and the east to create the feeling of idiosyncratic identity. He is also capable of using the different informational identities to develop the fashion and luxury (Stein, 598-604). The living room in which the painting is drawn has the classic western luxuries of the fireplace and servants.

The fashion in the painting comes out in form of the dressing and the tasteful furnishing. This creates the feeling of the developments that were made in the western world from the interactions with the other parts of the world due to colonization. The artistic work of Boucher indicates the acquisition of tastes and insights that were absent in the previous times before the interaction of the western nations and the colonial lands.

The selection of the items to include in the painting indicates the influence of the western interaction with other parts of the world (Rosenblum, 23-99). For instance, the servant is handing the woman a cap in a room filled with decorative porcelain. All the elements that are included in the painting are indicative of the dedication of the people to new concepts of luxury. He paints luxury in the view of the collectibles that one has from the interactions with the external nations (Hyde and Boucher, 78-98). The influence of the external contact has come in to change the perceptions of the west in terms of what defines culture. New concepts in interior décor are deemed to the epitomes of luxury living.

The painting includes the depiction of the yellow screen, which conceals an image of a woman in a bow. The inclusion of the pieces of porcelain and the imported screen point to the contact of the west and the other lands due to the process of colonization. Foreign but exquisite insights inform the new perception of luxury. Other insights in the photo that hint at the interaction with the outside world include the wood choice, which could be imported from other parts of the world (Stein, 598-604). The black wood could be African teak or ebony from the interactions of the French and the African colonies.

Work cited

Hyde, Melissa Lee, and François Boucher. Making up the rococo: François Boucher and his critics. Getty Publications, 2006.
Rosenblum, Robert. Transformations in late eighteenth century art. Vol. 206. Princeton University Press, 1967.
Stein, Perrin. "Boucher's chinoiseries: some new sources." The Burlington Magazine (1996): 598-604.