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1
Keshmershekan, Abdolhamid. "Contemporary Iranian painting : neo-traditionalism during the 1960s and 1990s." Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409536.
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Brand, Carol Frances. "A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/2249.
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The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research. More precisely, the accounts of Vorticism, Bloomsbury post-Impressionism and the modern art of painters associated with Sickert, (principally the Camden Town Group), have been critically examined over a forty year period in order to trace the narrative of their place in contemporary art criticism and their entry into histories of what soon became the recent past. This textually-based methodology has produced an insight into the forces acting upon the critical reception of a particular period subsequently seen by historians as a discrete phase in the evolution of British art. The readings of texts are organised chronologically so as to illustrate the iv formation of a historical narrative and its variants, and to show how immediate responses and retrospective evaluations connect discursively. The findings of the research have four aspects. Firstly, it has been fruitful to isolate the narrative of the years 1910-15 over forty years so as to test whether it is possible, using this longitudinal methodology, to comment productively on the integrity of this historical episode, and to establish how the narrative became a critical orthodoxy governed by a limited range of analytical perspectives. Secondly, estimations as to the quality of the art produced in these years developed a distinct, often negative, patterning in journalism and art historical writing and this is also traced in some detail over time. Dominant tropes in the critical language have been identified over this forty year period which became the default positions of historical analysis and which, I argue, impeded sophisticated or revisionist thinking. With a few notable exceptions, the analysis of early English modern art is poorly served by its commentators in this period and this weakened discursive health. Thirdly, this thesis also considers the nature and influence of, periodicals, newspapers, ‘little magazines’ and the genres of art-writing that were extant between 1910 and 1956 and relates this to the distinctions and similarities between art criticism and art history at this time. A fourth analytic strand concerns outside influences on the production of critical and historical texts. It explores the impact of promotional art writing, and exposes the professional pressures on, and rivalries between, writers and considers some of the wider political circumstances through which this particular debate on recent art was refracted.
3
Salter, Gregory. "Domesticity and masculinity in 1950s British painting." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/48105/.
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This thesis examines how men experienced domesticity in the 1950s in Britain and analyses the role that artistic representations play in the expression and formulation of this masculine selfhood in this context. It considers domesticity at this historical moment as an inherently flexible concept: one that takes in the private spaces of the home as well as more public realms and aspects beyond it, and includes a variety of relationships, both familial and non-familial. At the same time, it highlights the social structures surrounding domesticity in Britain at this time – exemplified by the policies and aims of the welfare state and post-war reconstruction, and their reflection in institutions and social beliefs – particularly their assumptions about specific gender roles, particularly in relation to masculinity, in the context of the family, sexuality and work. As a result, my thesis examines how four male artists operated in this context – as individuals negotiating particular identifications of masculine selfhood within their own private and unstable conceptions of domesticity, in relation to, and sometimes at odds with, the public social structures in Britain around them. It focuses on the art of four male artists working in Britain in the immediate post-war period: John Bratby, Francis Bacon, Keith Vaughan and Victor Pasmore. By placing their work in a wide social and cultural context, including social history, sociology, psychoanalysis, literature, and the popular press, this thesis significantly expands the academic work on modern art in Britain after the Second World War. Furthermore, it begins to interrogate and expand on the relationship between art, domesticity, selfhood, and, more broadly, everyday life. By focusing on the ways in which art and life interact in the work of these artists, it argues that artistic representations, for these artists at this historical moment, serve as ways to negotiate the unstable and seemingly impossible task of selfhood, within the expansive, fluctuating realms of domesticity.
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Iturralde, Mantilla Diana. "Between New York and the Andes, Abstraction and Indigenismo: Camilo Egas's Paintings from the 1940s and 1950s." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/506052.
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Art History<br>M.A.<br>Recent studies of Andean Indigenismo and Andean abstraction tend to overlook the intersections between these two artistic trends, as well as schematize the production of artists who experimented with both. The scholarship on Ecuadorian artist Camilo Egas, for example, only focuses on his role as a precursor of Indigenismo without delving into the diverse artistic styles that intertwine in his transnational career. Such selective interest in his Indigenist production, which tends to focus on his early works from the 1910s to the 1930s in Ecuador, Paris, and the first decade in New York, might be related to the fact that his oeuvre from those periods can be clearly connected to documented developments of modern nationalist painting in the Andean region. Yet, this gap in art historical studies ignores the compelling visual experimentations that Egas undertook in the 1940s and 1950s while residing in New York. Particularly interesting is an exhibition of these works organized in Quito in 1956 by the Casa de la Cultura Ecuatoriana, and Egas’s peculiar avant-gardist role in the country’s artistic milieu, at a time when Indigenismo, the country’s dominant aesthetic trend, was being challenged by other alternatives. In this thesis, I examine Egas’s position in-between two different contexts, cultures, and temporalities, which informed artistic experimentations and how these two contexts did not necessarily ascribe to the same ideas of modernism and art’s role in society. This thesis is based in archival research conducted both in Quito, Ecuador, and in New York. From May 2017 to February 2018 I visited several archives in public institutions and private holdings in both countries in search of the exhibited artworks, exhibition ephemera, written reviews of the work, relevant correspondence, Egas’s personal documentation of his work, and other existing academic material, to inform my research and writing.<br>Temple University--Theses
5
Kleopfer, Kirstie Lane. "Norman Rockwell's civil rights paintings of the 1960s." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179431918.
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Thesis (M.A.)--University of Cincinnati, 2007.<br>Title from electronic thesis title page (viewed July 13, 2007). Includes abstract. Keywords: Norman Rockwell; civil rights; illustrations; African Americans. Includes bibliographical references.
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KLEOPFER, KIRSTIE L. "NORMAN ROCKWELL'S CIVIL RIGHTS PAINTINGS OF THE 1960s." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179431918.
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Hajela, Christie. "Painting Photography: Robert Bechtle and the Critical Legacy of 1960s Photorealism." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19335.
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In the early 1970s, New York gallerist Louis K. Meisel devised a formal set of criteria to identify a group of artists he referred to as Photorealists. Despite the serious limitations of Meisel’s initial formulation, his criteria for assessing what constitutes Photorealism continue to dominate the critical discourse surrounding this artistic approach. This thesis revisits the critical legacy of 1960s Photorealism through a case study of artist Robert Bechtle and, in contrast to Meisel, identifies Bechtle’s work as deeply informed by other contemporary artists engaged with photographic imagery. By better appreciating Bechtle’s craft-based approach to the painting tradition and positioning his work in the broader history of the ongoing “dialogue” between painting and photography, this thesis ultimately provides a more expansive and robust understanding of Photorealist practices in the 1960s as well as their critical legacy.
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Bellefleur-Attas, Mireille. "Leon Bellefleur and Surrealism in Canadian painting (1940 - 1980) : the transmigration of an ideology." Thesis, Birkbeck (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491692.
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Surrealism made its appearance in Canadian art in the early 1940s, twenty years after its inception in France. The distance, both in terms of space and of time, has had major implications for the manner in which surrealist ideas have been conveyed and transformed pictorially, even as they were assimilated, in this culturally-distinct society. This process may be observed in English Canada, notably in the work of Jock Macdonald and Jack Shadbolt. But it is in French-speaking Quebec that the surrealist philosophy -in particular, its appeal to the unconscious and the non-rational powers of the human mind in apprehending and imaging the real differently- has impacted most profoundly, as its effect there extended, beyond aesthetics, to the social sphere. The climate of repression maintained by the government in collusion with the clergy in the 1940s and 50s provoked dissidence -variously overt or covert-among the avant-garde: in fostering a desire for change, Surrealism played a key role in the struggle, not least at the level of semantics. Two separate groups developed around the prominent figures of Alfred Pellan and Paultmile Borduas, each with a different but ultimately complementary conception, and attendant artistic concerns, of the surrealist ideology. Bridging the two tendencies is the painter L6on Bellefleur (born in 1910), whose oeuvre over a long career epitomises the phenomenon of transmigration that characterises the Canadian experience of Surrealism. Defining himself as a surrealist-inspired artist rather than a Surrealist, Bellefleur has nonetheless consistently drawn on the movement's guiding principles (poetry, love, freedom, automatism), techniques (many based on the concept of 'objective chance'), and ancillary interests (such as the occult), to produce a body of non-figurative works which, defying conventional notions of surrealist art, offer an indigenous vision of Breton's 'convulsive beauty'.
9
Christ, John X. 1974. "Painting a theoretical world : Stuart Davis and the politics of common experience in the 1930s." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28806.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2004.<br>Includes bibliographical references (leaves 272-281).<br>(cont.) relationship with American Scene painting. His engagement with these themes suggests that the pictorial reorganization of spatial experience that anchored his practice as a socially engaged artist is inextricably bound to the politics of place.<br>This dissertation examines Stuart Davis's paintings of the 1930s in relation to his conviction that art could transform reality by extending and reordering the spatial dimensions of common experience. While Davis's enthusiastic involvement with Marxism had a significant impact upon the development of his ideas during the thirties, his reception of liberal aesthetic theory, as exemplified in the writings of the philosopher John Dewey, played a more fundamental role in his understanding of the social function of art. By situating Davis's activities within the context of other artists and intellectuals who sought to rebuild public life through the aesthetic organization of common experience, Davis's strong political convictions are brought together with his abstract art within an integrated interpretive framework. He described cubism as an extension of the realist tradition that could express his reactions to the modem environment and in so doing offer a conceptual model to guide future action. Through a complex and not always consistent theoretical rationale, he related the formal structure of his paintings to their ability to communicate his vision of common experience to a broad audience without violating the logic of two-dimensional design. The social and political value of aesthetically reordering common experience was understood by many between the World Wars to reside in art's capacity to facilitate the formation of a shared national identity and cultural discourse. The profound geographic and spatial transformations associated with modernity played a crucial role in this conception of identity. Davis's contributions to these issues is examined in relation to his understanding of the internationalism of his modernist art and his complex<br>by John X. Christ.<br>Ph.D.
10
Schumacher, Sara. ""Uomini-statua-oggetto" : Giorgio de Chirico's mythologized mannequin paintings in late 1920s Paris /." Thesis, Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6004.
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Martini, Fátima Regina Sans. "O 'Grupo Tapir'e a pintura de casarios (1960-1980) /." São Paulo, 2004. http://hdl.handle.net/11449/86996.
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Orientador: José Leonardo do Nascimento.<br>Resumo: Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos "ismos", pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em "Significado das Artes Visuais". Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962)<br>Abstract: From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the "Group Tapir". Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of "Group Tapir" and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962)<br>Mestre
12
Shamir, Barhum Ruth. "Painting at a cinematic glance the New Museum in films of the 1980's and 1990's /." E-thesis Full text, 1999. http://shemer.mslib.huji.ac.il/dissertations/W/JMS/001489438.pdf.
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Thesis (Ph.D.)--Hebrew University of Jerusalem, 1999.<br>Not included -- the illustrated album and the video tape with visual examples from all films. Under the supervision of Dimitri Segal and Abraham Kampf. Includes bibliographical references.
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Moura, Isis Dinara Francelino de. "No coração de todas as coisas de Alice Vinagre." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8658.
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Previous issue date: 2016-03-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>This research aims to contribute to the studies of the history of contemporary art in Brazil, specifically in Pernambuco and Paraíba. It presents an analysis of the series "In the heart of all things or under the sign of the Dark", produced in the 1980s, authored by the artist Alice Vinagre. The study proposes to articulate the production of the artist to the historical context, trying to understand the series as the result of a continuous changing time. The series features help us to (re) think the practices shared by the so-called "80 generation" as the use of graphic resources of advertising, referentiality art history, the allusion to the popular culture etc. From this, we seek to reflect about the constitution of the plastic vocabulary of the artist in the process by which the painting lived (and still lives) in the national and international art scenario. Therefore, we use the studies the authors Francisco Morais (1992), Raul Córdula (2006), Madalena Zaccara (2009), Joana D’arc Lima (2014), Dyogenes Chaves (2004), among others. For the analysis of the series, we try to identify the autobiographical aspects. Thus, we explored the speech of the artist from the perspective of oral history explored in Lucila Delgado's research (2006) and social memory of Ecléa Bosi (2001), among others. Witness of a time living in the interval between the subjectivity of the artist Alice Vinagre and the collectivity of his time.<br>Esta pesquisa pretende contribuir com os estudos da história da arte contemporânea no Brasil, especificamente em Pernambuco e na Paraíba. Apresenta uma análise da série “No coração de todas as coisas ou ainda sob o signo da obscuridade”, produzida na década de 1980, de autoria da artista paraibana Alice Vinagre. O estudo propõe articular a produção da artista ao contexto histórico, buscando compreender a série como fruto de um tempo em permanente mudança. As características da série nos ajudam a (re) pensar nas práticas compartilhadas pela chamada “geração 80” como a utilização de recursos gráficos da publicidade, a referencialidade à história da arte, a alusão à cultura popular. A partir disso, buscamos refletir sobre a constituição do vocabulário plástico da artista dentro do processo pelo qual a pintura viveu (e ainda vive) no cenário artístico nacional e internacional. Para tanto, utilizamos os estudos dos autores Frederico Morais (1992), Raul Córdula (2006), Madalena Zaccara (2009), Joana D´arc Lima (2014), Dyogenes Chaves (2004), dentre outros. Para a análise da série, tentamos identificar os aspectos autobiográficos, entendendo a descrição da obra como representação do pensamento. Desse modo, exploramos a fala da artista na perspectiva da história oral, nos estudos de Lucila Delgado (2006) e Ecléa Bosi (2001). Assim, compreendemos a memória como testemunha de um tempo que vive no intervalo entre a subjetividade da artista e a coletividade de seu tempo.
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Adams, Christopher David. "More alive than ever? : futurism in the 1940s." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19110/.
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The 1940s are undoubtedly the years most neglected by scholars of Italian Futurism. The movement had long supported Fascism, but its vocal endorsement of Mussolini’s regime and its military adventures at this time is widely considered to represent Futurism’s ultimate betrayal of those ‘progressive’, counter-cultural values popularly associated with the avant-garde. For many, the movement’s apparent engagement with the forces of reaction and conservatism is reflected in the work produced by its artists throughout the war years, which is invariably presented in terms of propaganda imagery, characterised by an unchallenging and retrogressive figurative vocabulary. However, this thesis argues that the 1940s cannot be said to reveal a rupture in either the ideological or aesthetic foundations of the movement, and that common assumptions regarding the crude, rhetorical and one-dimensional nature of Futurist painting (and poetry) during this period are not necessarily borne out by the works themselves. The text also examines the movement’s status within the cultural establishment at this time. It challenges the notion that the reverberations within Italy of Nazism’s campaign against modern art during the late 1930s were irrevocably to prejudice the Fascist regime and its institutions against Futurism. Indeed, it is argued that one can no more consider the 1940s a period of decline from the point of view of the movement’s political fortunes than one can from an artistic perspective. Of course, Futurism did not survive the war. However, it is suggested that whilst the cataclysmic events of 1943-44 were to seal its fate, they also served to liberate the imaginations of Marinetti and his followers, reawakening the movement’s original, visionary spirit, and inspiring a final burst of creativity that anticipated ‘the future of Futurism’.
15
Popescu, Diana. "Perceptions of Holocaust memory : a comparative study of public reactions to art about the Holocaust at the Jewish Museum in New York and the Israel Museum in Jerusalem (1990s-2000s)." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/367397/.
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This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. Created by the inheritors of Holocaust memory, second and third-generation Jews in Israel and America, the artworks titled Your Colouring Book (1997) and Live and Die as Eva Braun (1998), and the group exhibition Mirroring Evil. Nazi Imagery/Recent Art (2002) were hosted at art institutions emblematic of Jewish culture, namely the Israel Museum in Jerusalem, and the Jewish Museum in New York. Unlike artistic representation by first generation, which tends to adopt an empathetic approach by scrutinizing experiences of Jewish victimhood, these artworks foreground images of the Nazi perpetrators, and thus represent a distancing and defamiliarizing approach which triggered intense media discussions in each case. The public debates triggered by these exhibitions shall constitute the domain for analyzing the emergent counter-positions on Holocaust memory of post-war generations of Jews and for delineating their ideological views and divergent identity stances vis-à-vis Holocaust memory. This thesis proposes a critical discourse analysis of public debates carried out by leading Jewish intellectuals, politicians and public figures in Israel and in America. It suggests that younger generations developed a global discourse which challenges a dominant meta-narrative of Jewish identity that holds victimization and a sacred dimension of the Holocaust as its fundamental tenets.
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Svahn, Garreau Hélène. "I originalets tjänst : Om framställandet och bevarandet av kalkmåleri i svenska kyrkorum mellan 1850 och 1980." Doctoral thesis, KTH, Arkitekturens historia och teori, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-171078.
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There are approximately 1300 completely or partially preserved medieval churches in Sweden. Many of these have remains of kalkmåleri (mural paintings at least partially created in lime) from the 12th throughout the 17th century. This dissertation discusses the enactments that formed the revival of this kalkmåleri between 1850 and 1980, with a focus on restoration and conservation. The decorative and monumental paintings that were created at the same time are also discussed. The study is divided into two sections: one concentrates on the mural paintings and the networks that made their (re-)enactment possible, and the second is a case study that examines kalkmåleri in four medieval churches; Vendel and Ed north of Stockholm, and Floda and Vadsbro south of Stockholm. To come close to the paintings, an eclectic methodology with analysis of written and depicted sources, interviews, and studies in situ of the paintings through mapping and analysis of taken samples was designed. The objectives were to investigate the formation of kalkmåleri as phenomena, significant concepts, and conservation practices throughout time and space. Theoretical inspiration was taken from Actor-Network-Theory, critical discourse analysis, and speculative realism. Throughout the study the kalkmåleri is thus seen to have agency. The weave of enactments stemming from different professions and thought collectives that formed the paintings was made visible by following the actors. Some of these enactments were analyzed: i.e. the aesthetic shaping of the room, as religious and iconographic images, historical documents, art, style, technical, or hybrid objects. The latter refers to conservation that did not entirely rely on science, humanist scholarship, craftsmanship, or artistic creativity. Thus conservation is seen as a hybrid activity. Three periods of conservation principles were explored: stylistic restoration, original conservation, and precautionary conservation, which were related to what was perceived as the authentic original. Furthermore some Swedish "traditions" are discussed: that no institute for technical studies of art was formed, the use of "Curman’s principles", restricted retouching from the 1960s onward, and the use of gomma pane for cleaning. Finally appendices are included containing terminology, an index of conservators, and a DVD with mapping, chemical analysis, and photographs.<br><p>Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.</p><p>Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik & Lily Philipsons minnesfond och Axelson Johnsons stiftelse.</p>
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Onsal, Basak. "Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.
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This thesis attempts to analyze the emergence of private art galleries in Turkey by
focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquo<br>s
Gallery, and Society of Artlovers&rsquo<br>Gallery that were opened in Ankara during 1950s. To this
aim, both the artistic movements and governmental policies regarding the artistic field are
mentioned from a historical point of view. Interviews, analysis of relevant literature,
examining periodical magazines, and daily newspapers constitute the main sources of data
collecting. In conclusion, in the light of our findings it is decided that the formation of art
market and emergence of art galleries in Turkey have quite different characteristics from the
western example as a result of its own social, cultural and economic dynamics in the historical
frame.
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Martini, Fátima Regina Sans [UNESP]. "O 'Grupo Tapir'e a pintura de casarios (1960-1980)." Universidade Estadual Paulista (UNESP), 2004. http://hdl.handle.net/11449/86996.
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martini_frs_me_ia.pdf: 6530425 bytes, checksum: 488d5f2b90e42c9541ceaf8ee9505801 (MD5)<br>Universidade Estadual Paulista (UNESP)<br>Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos ismos, pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em Significado das Artes Visuais. Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962).<br>From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the Group Tapir. Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of Group Tapir and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962).
19
Finotti, Ricardo Alves. "As paisagens nas pinturas de Ido Finotti: reflexões artísticas e históricas." Universidade Federal de Uberlândia, 2016. https://repositorio.ufu.br/handle/123456789/17735.
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A presente pesquisa tem por objetivo estudar a produção das pinturas de paisagens do artista
Ido Finotti, especificamente as paisagens de cerrado e rios da região do Triângulo Mineiro,
principalmente da cidade de Uberlândia e seu entorno, Uberaba e Araguari, realizadas por ele
entre os anos de 1947 a 1980, e compreender a sua poética identificando os elementos que o
artista elencou para a construção da visualidade de paisagem como identidade regional,
fazendo reflexões artísticas e históricas em diálogo com noções gerais da ideia de paisagem
na história da arte universal e na história da arte brasileira através dos principais pintores do
gênero paisagem. Para a formulação dessas reflexões, no primeiro momento discorremos
sobre a trajetória de Ido Finotti para conhecê-lo em suas duas fases: a inicial como pintor
decorador de paredes nas décadas de 1920 a 1940, e a posterior como artista pintor em óleo
sobre tela. No segundo momento, buscamos autores nacionais e estrangeiros das áreas de artes
visuais, história, história da arte, filosofia e geografia que produziram a literatura sobre a ideia
e o tema de paisagem na pintura, fizemos um levantamento e leitura inicial de algumas obras
do artista, das quais 142 são paisagens, realizamos entrevistas e coleta de artigos de jornais e
revistas e reunimos documentos, folhetos e catálogos relacionados ao artista e suas obras. O
cruzamento dessas fontes escritas e visuais possibilitou a construção textual do trabalho de
pesquisa aqui apresentado.<br>This research studies the landscape paintings of the artist Ido Finotti, specifically the Brazilian
cerrado vegetation and rivers landscape paintings, in the region of Triângulo Mineiro, mainly
Uberlândia and the surrounding cities as Uberaba and Araguari. The artist produced the
landscape paintings from 1947 to 1980. This study searches to understand the poetic in the
paintings and identify the elements that the artist chose to create the visuality of landscape to
build a regional identity. Therefore, it links the artistic and historical reflections with the
general ideas about the landscape painting in the Universal History of Art and in the Brazilian
History of Art through the main landscape painters. First, this work shows the trajectory of the
artist Ido Finotti and the two phases of his paintings: as a decorative painter of walls from
1920 to 1940, then as an oil painter artist on canvas. Second, the national and foreign authors
studied were from several fields: Visual Arts, History, History of the Art, Philosophy and
Geography, but had produced literature on the idea and the subject of landscape in the
painting. The initial reading was about some workmanships of Ido Finotti, which included
142 landscapes paintings; interviews; articles, periodicals and magazines collected;
documents, brochures and catalogues gathered. The comparison between the written and
visual sources made possible the textual construction of this research.<br>Dissertação (Mestrado)
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Melo, Ana Beatriz Bezerra de. "Os ecos da geração 80: a pintura contemporânea em Maceió." Universidade Federal de Alagoas, 2016. http://www.repositorio.ufal.br/handle/riufal/1389.
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The generation of 1980 is the object of study in this research and has been studied as a turning point before the modernist movements and postmodernists enshrined in the painting. In Brazil, this time was marked by exposure How are you, Generation 80? (Como vai você, Geração 80?) in Rio de Janeiro, but it rebounded and was also featured in Sao Paulo. In Maceió possible echoes of that past period were found in major cities of the country, were represented by the emergence of local artistic groups. Three artists from Alagoas were selected (Delson Uchôa, Maria Amélia Vieira and Paulo Caldas) and three artists called 'Generation 80' (Adriana Varejão, Beatriz Milhazes and José Leonilson). Parallel to the Cultural History field approach was conducted an overview of the history and preconditions, primary influences for artistic transformations through literature. Furthermore, analysis of sources distinguished between primary and secondary aided in the construction of these aspects making up the generation of 1980 echoes in Maceió. Even with the artistic and cultural backwardness, mentioned by oral sources and periodicals on national look, Maceió can be included as a component of identity for the formation of unity in Brazilian painting.<br>Fundação de Amparo a Pesquisa do Estado de Alagoas<br>A geração de 1980 é o objeto de estudo nesta pesquisa e foi estudada como um momento de inflexão diante dos movimentos modernistas e pós-modernistas consagrados na pintura. No Brasil, esse momento foi marcado pela exposição Como vai você, Geração 80? no Rio de Janeiro, mas repercutiu e foi também destaque, em São Paulo. Em Maceió foram encontrados os possíveis ecos desse período passado nas grandes capitais do país, representada pelo surgimento de grupos artísticos locais. Foram selecionados três artistas alagoanos (Delson Uchôa, Maria Amélia Vieira e Paulo Caldas) e três artistas da denominada ‘Geração 80’ (Adriana Varejão, Beatriz Milhazes e José Leonilson). Em paralelo à abordagem do campo da História Cultural foi realizado um panorama dos antecedente e das pré-condições, influências primordiais para as transformações artísticas, através de pesquisa bibliográfica. Além disso, a análise de fontes distinguidas entre primárias e secundárias ajudaram na construção desses aspectos constituindo-se dos ecos da geração de 1980 em Maceió. Mesmo com o atraso artístico-cultural, mencionado pelas fontes orais e periódicos diante do olhar nacional, Maceió pode ser incluída como um dos componentes identitários para a formação da unidade na pintura brasileira.
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COELHO, Armando de Aguiar Guedes. "CARLOS SENA: A TRAJETÓRIA DE UM ARTISTA NA ARTE GOIANA (1980-1989)." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2822.
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Dissertacao Armando Coelho.pdf: 2388570 bytes, checksum: d7b58d3c0e7f7ee3abd1512149c20c6d (MD5)
Previous issue date: 2009-08-07<br>This research CARLOS SENA: THE ARTIST STEPS INTO THE GOIÂNIA ART SCENE (1980-1989) focuses on Carlos Sena s professional status and productions of plastic arts in the goianiense visual arts community from the 80s. He is known for his many group expositions and private art shows, festival awards, and being an active member of the art jury at festivals. He is also well known for his intense production in painting, which was divided into two phases. The first phase being the first half of the 80s and the second being the other half of the decade. This period revealed an artist who dedicated the same posture to technician in drawing and painting as in experimental arts. During this time, it is possible to observe into the Carlos Sena´s iconography, several symbolisms which dialogue with several discussions from the period, as sexuality, mass media, and symbolic power. The analysis of Sena´s paintings of this time follows the analysis system adopted from the authors Ferreira Gullar e Gaston Bachelard. It happened to be during his painting production in the 80s, that arts career became a professional job in Goiânia, conducting the research to verify the connection between the art work and market structure. This research presents the Goiânia artistic scenario from the 80s that focuses on Carlos Sena´s presence and artist market from the period.<br>O trabalho CARLOS SENA: A TRAJETÓRIA DE UM ARTISTA NA ARTE GOIANA (1980-1989) focaliza a presença profissional e a produção plástica do artista Carlos Sena dentro do cenário das artes visuais goianienses dos anos 80. Presença esta marcada por exposições individuais e coletivas, prêmios em salões de arte e membro de júris de seleção de trabalhos artísticos; e uma produção intensa em pintura que, dividida em duas fases esteticamente distintas, na primeira e na segunda metade da década de 80, revelaram um artista dedicado com o mesmo afinco à busca pela supremacia técnica assim como à entrega ao experimentalismo visual. Durante todo o período é observado na iconografia de Carlos Sena elementos simbólicos que dialogavam com diversos temas proeminentes do período; como sexualidade, comunicação de massas e mercado de bens simbólicos. A leitura dessas pinturas é realizada seguindo os parâmetros de análise de obras de arte adotados por autores como Ferreira Gullar e Gaston Bachelard. O período de produção das pinturas analisadas coincide com o momento de profissionalização do fazer artístico em Goiânia, conduzindo então a uma verificação das obras em conexão com a estrutura mercantil presente na arte local da época. Este trabalho apresenta o cenário artístico goiano da década de 80 privilegiando a participação do artista Carlos Sena e ressaltando a importância do mercado artístico goianiense durante o período.
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Caruge, Mickaël Bernard. "Une histoire des réseaux d'artistes en Caraïbe 1960-1980 : processus de stolonisation martiniquais au croisement des arts plastiques et du théâtre." Electronic Thesis or Diss., Paris 3, 2025. http://www.theses.fr/2025PA030017.
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A la croisée des études théâtrales et de l’histoire de l’art, cette thèse explore les réseaux d’artistes qui se sont constitués dans la Caraïbe au lendemain de la décolonisation, dans les deux décennies qui ont fait suite aux Indépendances, tant dans le domaine des arts plastiques que des arts du spectacle, tissant des liens entre peintres, sculpteurs, comédiens, musiciens, dramaturges, metteurs en scène… mais aussi jetant des ponts entre Amériques, Europe et Afrique. L’étude se resserre sur le maillage artistique martiniquais. Elle tente d’identifier et de définir le principe réseautique qui le caractérise et qui relève d’un processus de reproduction et d’enracinement inspiré de la botanique : la stolonisation. L’approche analytique se veut autant politique et anthropologique, qu’esthétique et philosophique, voire poétique. Dans les deux cas, les processus créatifs, tant des arts Plastiques que du théâtre portent la question d’une « caribéanisation » des répertoires, comme des images. De plus, les dispositifs créés dans les années 60 et 70, ont pour but l’amélioration de la visibilité des artistes et transfigurent les pratiques. Ce que nous observons dans l’art sur vingt ans, c’est l’organisation de plusieurs coopérations, de l’Amérique aux Afriques, vers l’Europe, en Asie, la création de pôles artistiques symboliques, de missions qui officialisent une convergence des arts et une décentralisation active. Nous avons dépouillé la presse officielle de cette période jour par jour, afin de révéler sur vingt ans divers aspects du paysage artistique martiniquais de l’époque, en la croisant avec une presse dissidente et d’autres simplement dédiées à la culture<br>At the crossroads of theatre and art history this thesis explores the networks ord artiststhat were formed in the Caribbean in the aftermath of decolonization in the two decadesfollowing independence. Both in the fields of visual arts and performing arts, weaving linksbetween painters, sculptors, actors, musicians, playwrights, directors… but also linkingAmericas, Europe and Africa. Its a closer look on caribbean arts. It’s a focus on networkprinciple that characterize it. It’s based on a reproduction process and a rooting inspiring bybotany : stolonization. The analytical approach will be as much political and anthropological asaesthetic and philosophical even poetic. In both cases the creative process, both in the visualarts and in the theatre, emphasize the question a « caribbeanization » of repertories, like images.In addition, the devices created aim to improve the visibility of artists and tranfigure pratices.We observe art organisation over twenty years of cooperations all other the world. The birth ofsymbolic artistic centers, with « missions » formalize a bridge of art and the decentralizationactivation. Themes of works have several specific folds in West Indies context between 60s to70s. There is a political landscape with discourses and social context reappropriation. This workwas carried out using daily press report over twenty years
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Mészáros, Flóra. "Hungarian Artists in Abstraction-Creation." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040088.
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Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus large<br>This dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background
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Sandomirskaja, Ekaterina. "Hybrida kretsmaskiner : Ulla Wiggens måleri från 1960- och 2010-talet i skärningspunkten mellan kropp och maskin." Thesis, Södertörns högskola, Konstvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34857.
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The Swedish artist Ulla Wiggen (b. 1942) started her artistic career in the early 1960s with detailed paintings of the insides of early electronic devices. In the early 2010s she turned to the interior of the body in the series Intra where organs and cells are fictionally combined. Here, she used a similar pictorial style as in the electronic paintings. This thesis seeks to analyze the relationships and tensions between body and machine that are found in Wiggen’s works. Questions are posed about the relationship between scientific and artistic imagery, as well as the role that fiction plays in knowledge-producing representation. This thesis looks to Wiggen’s use of the grid and connects it to historical and modernist images by showing its inherited paradoxical relation between rationality and spirituality. Through the anatomical picture, focusing on the Renaissance and Rationalism, this thesis explores the meanings of portraying bodies in cross-section. The role of the opened body has been oscillating between a body filled with spiritual meaning to a divided body, seen as an object for knowledge production. By using Donna Haraway’s figurations of the hybrid and the cyborg, the text proposes to re-think dualistic tensions between the human and the machine, science and fiction, realism and magic in Ulla Wiggen’s works. Through this perspective and post-humanist theory, it becomes clear that these boundaries have always been in flux. Instead of thinking either machines or bodies, the thesis suggests that we see the two series of Ulla Wiggen’s works as hybrid constructions that are both body-machines and machine-bodies.
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Kouroutaki, Alexandra. "Surréalisme et peinture métaphysique dans l’art néohellénique : le cas de la « Génération artistique des années 1930 » : Nikos Engonopoulos, Gerassimos Steris, Georges Gounaro." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30057.
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L’objectif de ce travail est l’étude de la démarche artistique du mouvement surréaliste et de la peinture métaphysique en Grèce pendant la période des années 1930. En particulier la thèse étudie le cas des peintres Nikos Engonopoulos, Gerassimos Steris et Georges Gounaro. Tout en examinant « l’idiome pictural » des artistes, ce travail vise également à élucider les influences reçues des artistes Grecs tant par le mouvement surréaliste en France que par les aspirations métaphysiques de la peinture de Giorgio de Chirico. Ainsi orientée, la mise en relation s’effectue sur deux axes, premièrement thématique et deuxièmement stylistique. Dans la première partie, la thèse considère la réception du surréalisme et de la peinture métaphysique en Grèce, effectuée dans des conditions hostiles. Il s`agit donc d`étudier le concept de la « Grécité » et le contexte historique et sociopolitique qui a marqué l’implantation retardée et l’expression affaiblie de cette peinture qui, affranchie des contraintes de l’académisme, a provoqué un scandale sans précédent, combinant Modernisme et Tradition. Dans les parties suivantes, ce travail aborde des thèmes communs dans l`œuvre des artistes du corpus, à savoir l`espace pictural surréel, méta empirique, et onirique, les visions métaphysiques, le rôle du Mythe Orphique, et finalement la représentation et le symbolisme de la figure humaine, historique et mythique, dans son inquiétante étrangeté. De surcroît, la thèse révèle l’originalité de cette création artistique subversive (thèmes choisis, techniques, dessin, et couleurs utilisées) qui a oscillé entre les influences occidentales et la revendication d`une spécificité nationale et culturelle<br>The objective of this work is the study of the artistic process of the surrealist movement and the metaphysical painting in Greece, during the 1930s. In particular, the thesis examines the case of painters Nikos Engonopoulos, Gerassimos Steris, and Georges Gounaro. While examining the artists’ « pictorial idiom », it also seeks to elucidate the influences received from Greek artists by the surrealist movement in France and by the metaphysical aspirations of Giorgio de Chirico’s painting. The method of approach is based on the parallel, performed on two axes, firstly thematic and secondly stylistic. In the first part this work considers the reception of surrealism and the metaphysical painting in Greece, at the time of the inter-war period, which was carried out in adverse conditions. The reasons for the weak expression of Surrealism and its delayed implantation in Greece are attributed to the socio-political context and the imperatives of the time. This surreal and metaphysical creation, freed from the constraints of academic painting, caused a scandal as she approached Greek tradition in an innovative way. In the following sections the research deals with common topics in the pictorial work of Greek artists’, namely the surreal, meta-empirical, and dreamlike pictorial space, as well as painters’ metaphysical visions, the role of the Orphic myth, and finally the presence and the symbolism of historical and mythical human figures which often follow the principle of metamorphosis. In addition this work reveals the originality of this art (topics, drawing and colours used) mainly due to its Greek character. It’s a particular case study of that thoroughly subversive artistic creation, oscillated between Western influences and claims of national and cultural specificity
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Chiu, Lin-ting, and 邱琳婷. "The Seven Friends Painting Association and Taiwanese Art Circles (1950s-1970s)." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/32716001146663995722.
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博士<br>國立臺灣大學<br>藝術史研究所<br>99<br>This dissertation studies the Seven Friends Painting Association established in Taipei in 1955. This painting association is important in that it combined the “artistic value” with “political reality” through the creation of traditional Chinese ink painting. With the withdrawal of KMT Government in 1949, the seven painters of the Association, some were civil servants and some amateur painters, came to Taiwan separately. Though they didn''t know each other back in Mainland China, they gathered together during the Cold War Period (1950s-1970s), shaping a shared sense of duty to maintain the tradition of Chinese literati painting. This emphasis on the literati tradition, of course, was closely related to the emphasis of the KMT Government on the cultural policy of reviving the Chinese Tradition. Through this policy of “culturally Chinese,” KMT Government aimed to highlight its own orthodox status of being ''politically Chinese.”
For Taiwan, however, where the land had always been the peripheral for Chinese Culture and was actually under Japanese rule before the arrival of KMT Government, such a policy faced challenges from the Japanese colonial culture. In this light, the first chapter of this study concentrates on the development of ink painting in Taiwan before the KMT Government. Firstly, the chapter analyses the Chinese ink painting that came to Taiwan during the end of Qing dynasty. Secondly, the chapter delineates the rise of Toyo Painting (Japanese painting) through the advantage of Official Artistic Exhibition and the eclipse of Chinese ink painting. This chapter also describes the Western Painting Department of the Official Artistic Exhibition and its influences on Taiwanese painters. On the basis of this discussion, we find that the “debate on the national painting” actually reflects two ways of thinking about the “national painting.” On the one hand, we find that local painters of Taiwan, with their experiences of Japanese colonial rule, developed a more intricate way of interpreting the “national painting.” On the other hand, Chinese painters who came to Taiwan after 1949 were influenced by the historical memory of revolution of Chinese painting in early 20th century, the revival of literati painting, and the political defeat and were therefore showing greater “authoritarian” and “realistic” attitude toward regulating the concept of “national painting.”
The second chapter will describe the activity and significance of the Seven Friends Painting Association and analyse the interaction of “artistic value” and “political reality.” With the close interaction between members of the Seven Friends Painting Association and higher echelons of KMT Government, the Association''s production of literati ink paintings, characterized by the unification of poetry, calligraphy, and painting and by the symbolization of brush and ink, becomes the best advocate of the Government''s cultural policy and provides the artillery against the “new national painting” of social realism in the People''s Republic of China. It is worth noting, however, that under the seemingly combination of “artistic value” and “political reality” the Association''s promotion of literati painting is also informed by the members'' ethical and personal consideration.
Lastly, this study examines the influence of the Association on Taiwanese painting through the two important governmental artistic exhibitions, namely “the National Art Exhibition of Republic of China” and “the Taiwan Provincial Art Exhibition.” Members of the Association were mostly judges for these governmental artistic exhibitions. These exhibitions, being public arena for art, become important channels for the Association''s political intention. Of course, this chapter will also address and focus on how local painters of Taiwan reacted to this influence.
To sum up, the discussion of this study show that the tradition, like the innovation, of artistic performance is an important means to resist the revolution of epoch and provides a rich mine for further researches.
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Peng, Kang-Chia, and 彭康家. "Representation of Homosexuality in the Paintings by David Hockney 1960s-1970s." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/76252404451625818347.
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碩士<br>高雄師範大學<br>美術學系<br>98<br>This thesis focuses on the artist David Hockney, whose oeuvres created in the 60s and the early 70s subverted public perception of homosexuality by representing it positively.
Hockney was born in an age when most people still detested homosexuality.While representing gay sexuality, Hockney seemed to follow heterosexual-centered aesthetics. He continued to use traditional modes of representing female body to draw male nude.He did not use traditional techniques to structure male nude and characterize male body’s geometric shape, anatomy and volume of the muscle. Instead, he applied the elegant curve lines seen in traditional female nude to outline his made nude. As a result, his male nude became almost like female nude, and hence sexual object for men. It is seductive and an object of male sexual fantasy.His male nude is not like masculine David made by Michelangelo but Venus who just came out from bath tub.
Hockney’s works made in LA – The Domestic Scenes series, The Shower series, and The Swimming Pool series, establish a private sphere for gay life, and presented life styles and subjectivities of middle class gay men by appropriating images published by commercial journals and other forms of cultural media. These are to resist the oppression of homosexuals by heterosexual-centered society, in the hope that homosexual couples could be themselves and their sexuality could be legitimized at least at home or at the swimming pool. Hockney imagined legitimate gay spaces. For Hockney, Private homes and swimming pools are the only place for the homosexuals to come out and exchange emotion.
This thesis aims to establish an art history of homosexuality through studying David Hockney and his work. A comparison is made between work by Francis Bacon, Bob Mizer(Physique Pictorial), and Robert Mapplethorpe in terms of their ways of representing male body. In addition, an art history of male nude is revisited and discussed. Styles and forms of representing heterosexuality and gay homosexuality by Jacques-Louis David, his student Jean Broc, and Anne-Louis Girodet de Roucy Trioson are also compared. In addition to the issue of representing gay sexuality, the achievement of the gay artists is explored, the representation of masculineity in a patriarchal society is investigated, and social plurality is pursued.
Queer theories such as Judith Butler’s idea of gender performativity, Eve Kosofsky Sedgwick’s queer performativity, and Gayle Rubin’s‘hierarchical system of sexual value’are resorted to explain paintings in discussion.
To conclude, work by Hockney is important in serving as an expression of homosexual self-acceptance and identification. It adds new contents and aesthetics to Art History and inspires many gay artists of later generations.
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Yu, Hsiu Lan, and 余秀蘭. "A Study in the thought of Abstract Painting in Taiwan 1950s and 1960s." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/d63sj9.
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Ya-ting, Chuang, and 莊雅婷. "Research on Taiwanese Cityscape Paintings（1980s-2000）." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/6jzn64.
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碩士<br>國立臺灣師範大學<br>美術學系在職進修碩士班<br>97<br>Taiwanese cityscape paintings have been discussed or studied in fine art or architecture space from time to time. In spite of that, there are rarely sufficient analyses and studies on the historical development of Taiwanese cityscape paintings created during the post-war period. Therefore, this research hopes to establish the history of development of Taiwanese cityscape paintings and painters in order to encourage academia to approve this subject and to be interested in researching it. Also, this research also explores city image and implications to understand people’s viewpoints towards cities. In addition, through interdisciplinary research, this research also discusses the planning of city space and its meanings and implications. It is hoped to provide references for the future’s city planning.
In the dissertation, “city” and its “city image” are taken into the research as main subjects. The contents deal with visible “cityscape” and invisible “city space” and their emotional influences and relationship with “humans.” In the dissertation structure, Taiwanese cityscape painters and their paintings’ history of development during 1945 to 2000 are first explored. Then, the cityscape paintings during 1980 to 2000 are brought for in-depth discussion because it was the most productive and abundant period for this kind of art form. In this discussion, city images in the three cities located in northern, southern and central Taiwan are considered first. Then, in a general approach, elements that are visible on the surface of the paintings are taken for research, especially about their symbols and relevant relations. Finally, the spatial elements which cannot be seen easily on the paintings’ surface are profoundly analyzed and brought into a further discussion. Overall, this research’s conclusions are listed as follows.
First, the cityscape paintings have their independence and importance in Taiwan’s fine art history.
Secondly, there is a close relationship among Taiwanese cityscape painting development, political situation after martial law was abolished and city development.
Thirdly, in the representation of Taiwanese cityscape paintings from 1980 to 2000, true city looks are conveyed. In the process, most city images and expressed elements have negative implications and also pictorial city space is transferred into the space with loss of locality, with short-term Affection Space, and with Lost Space.
Fourthly, by researching Taiwanese cityscape paintings, it is realized that the “human” factor should have been much considered while city planning proceeded.
This research wishes to stimulate Taiwan’s art creators to proceed with reflection on their own living environment and city planners to build humanistic cities which are beneficial to interpersonal relationship and emotions. It is also wished furthermore that citizens can concern themselves with their own living environment and then create their own city works. All these wishes should come together so that the maximum harmony among city, human, and natural features can be achieved in the end.
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Patterson, Jody. "Painting on the edge : geometric abstraction in Montreal, the 1950s." Thesis, 2001. http://spectrum.library.concordia.ca/1684/1/MQ68503.pdf.
Full textAbstract:
Montreal during the 1950s within the constructs defined by the 'avant-garde.' geometry are discussed. The first group, the Plasticiens, was active between 1954 and 1956 and was comprised of Louis Belzile (b.1929), Jean-Paul Jérôme (b.1928), Fernand Toupin (b.1930) and Jauran (1926-1959)--the pseudonym of art critic Rodolphe de Repentigny. The second group, Espace dynamique, undertook a more rigorous and systematic investigation of the reductivist formal program initially developed by the Plasticiens. Espace dynamique was active from about 1956 and included Denis Juneau (b.1925), Guido Molinari (b.1933), Claude Tousignant (b.1932) and Jean Goguen (1928-1989), who was later replaced by Luigi Perciballi. Through an analysis of the artists' own writings, the manifestos they produced, the formal program demonstrated in their paintings, and the critical response their work received within its historical milieu, this thesis examines the ideological differences and shifts in emphases that arose between the Plasticiens and Espace dynamique. Evolving definitions of 'avant-gardism' are assessed by attending to issues such as the varying interpretations of Mondrian's Neo-Plasticism, the shift that occurred in the turn from Paris to New York as the centre of international 'avant-garde'
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Tseng, Ting-Yu, and 曾霆羽. "Ink art after ink painting-Culture translation of 1980 generation." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/a7xtkx.
Full textAbstract:
博士<br>國立臺灣師範大學<br>美術學系<br>105<br>Abstract
The thesis research the relationship between 1980s generation and ink painting,in the structure,more focus on the possibility that ink painting leave flatness and painting afterward.The thesis will be divided into four sections,the description is as follows：
Chapter One,the “construction of artwork research”stage,focus on general description of ink painting mainly, describe the theory generally and define the research range;Chapter two focus on ink painting before 1980s,and research it on the view point of post-colonialism.in the other hand,research several important concepts in west contemporary art in the past,like as post-modernlism;Chapter three focus on ink painting after 1980s.Betweed the two struction,”subjectivity construction of post-colonialism” and “text deconstruction.I mention “Ink art after ink painting”, my view point and the theory of creative method,and give some examples to respond my view point;Chapter four research my creations from 2008 to 2016,and describe the relationship between my works and the theory, ”ink art after ink painting”.
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TSAY, SHANG-JENG, and 蔡尚政. "The "Representation of Ink Painting" in Taiwan ── As of the 1960s." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/dx5552.
Full textAbstract:
博士<br>國立臺南藝術大學<br>藝術創作理論研究所博士班<br>107<br>According to the past studies on the development of art history in Taiwan, the study of the development of ink painting in Taiwan is always limited to the category of national history, respectively discussing the issue of "improvement" between tradition and modernity; the problem of " Essence and Function " between the East and the West, Even the "orthodox" issue between different countries and national cultures. The argument logic of “either or” seems to clarify the context of historical development, but actually masks the inevitable and closely related international exchanges and influences in different areas. This thesis focuses on the critical site of the interaction of various influences in the historical context, and also examines this interaction in the context of mutual contact. Let "Ink painting", the "discovered tradition" of the 20th century, has better understand about "where does it come from?" and then make it possible to question of "where should it go?"
At the same time, this paper also explores the process of East Asian influence on Western European modernism by discussing the Western European modernism's conception of oriental thought and aesthetics, and even the appropriation and transformation of expressive styles. It not only involves the cognitive foundation and experience of East Asia itself, but also try to figure out the precondition for modernism to be accepted and transformed in East Asia. It is a diachronic process of intertexture and transculturation. Based on this cognition, this paper attempts to explore a new approach of research, and recontextualize the development of art from the transcultural and regional perspective. The specific historical situation and ideological concept have a mechanism of mediation, constantly transforming the artist's creative attitude and method. This implicit role and internal driving force will eventually be presented through the "representation" of the creative form. Therefore, this paper follows the operational mechanism of the representation in order to figure out and clarify the complicated relationship between the "creation and discussion" of the modern ink paintings from the Ming and Qing Dynasties to the post-war period and the "political system and cultural situation" at that time.
According to the research approach mentioned above, what this article does is not to deal with the creator's creative process and the evolution of the style of the work. That is just the "fact" of history. This paper is more concerned with the "reality" of history. It is the specific facts that generate the real effects of subject identity and power relations through the discourse structure given by meaning, and then form the following effects of the historical situation. Many discourses of the "ink painting" today often have strong orientalist tendencies and specialism or nationalism, but the discoursers do not seem to be aware of the Western perspectives and references to modernist aesthetics implied by their theories and concepts. This paper has given appropriate clarifications and explanations for those blind spots, problems and concepts mentioned above during the process of recontextualizing of history.
In the era of multimedia networks where images are circulated, whether the "ink painting" creation can overcome the limitations of mediated materials will be another challenge after the loss of the writing tradition. In the contemporary context in which the world becomes an image, it may be possible to rethink the ink image as a cultural skin and how to cross the representative relationship between culture and media. Through the "tangibility" of the ink painting, this paper tries to propose an "incarnated" creative mode and aesthetic concept. Provide another possible way of creation to upcoming creators who must feel and respond to this mobile and fluid media era.
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Yamanaka, Kaori. "Leisure and pleasure as modernist utopian ideal : the drawings and paintings by B.C. Binning from the mid 1940s to the early 1950s." Thesis, 1999. http://hdl.handle.net/2429/9147.
Full textAbstract:
Bertram Charles Binning's depiction of British Columbia coastal scenes in his
drawings and paintings of the mid 1940s to the early 1950s present images of sunlit
seascapes in recreational settings; they are scenes of leisure and pleasure. The concern
for leisure and pleasure was central to the artist's modernism, even after he began
painting in a semi-abstract manner around 1948. In this particular construction of
modernism, Binning offered pleasure as an antidote to some of the anxieties he observed
in postwar culture.
Binning also thought that art could contribute to life in a direct way. In the mid to
late 1940s, Vancouver saw a series of artistic community projects which explored the
possibility of art as a social force; the Art in Living Group, of which Binning was a
member, believed that art could have a therapeutic value in relation to housing projects
and community planning. In certain ways, the Art in Living Group was a response to
rapid changes in the social matrix of Vancouver.
Binning's personal artistic practice, however, appears to have existed outside of
what was embraced in his participation in those community projects. His essentially
personal, self-authenticating expression in the form of drawings may be seen to resist the
idealism of his more 'public' production, that is, his own idealism, his demand for an art
thoroughly harmonized with the public sphere. Moreover, in this more personal body of
work, his choice of leisurely scenes, rendered in a style reminiscent of Matisse, can be
seen as far removed from the urban tensions of the time. It also seems to suggest that the
leisure-and-pleasure idealism which finds expression in these works was not only class-and
gender- specific, but also antithetical to his strong desire to democratize art.
Binning's preoccupation with personal expression took a turn when he shifted his
concern from representational drawings to semi-abstract paintings. The shift coincided
with his career move to the University of British Columbia as a professor of Art History
in 1949. From then on, Binning's interest in regional cosmopolitanism became more
pronounced in his work. In this sense, it is significant that Binning looked for guidance
to Herbert Read's ideas about modern art and art education. At the same time, his
reputation expanded beyond the West Coast. In 1954, Binning was chosen to represent
Canada at the Venice Biennale.
Binning's particular modernism, as represented by this range of work, all of which
presents a pastoral version of Utopia , was in some ways profoundly at odds with the social
circumstances of the time. Why was the interest in leisure and pleasure significant to his
practice? What did it mean to promote this kind of idealism in the local context? And in
what ways did it relate to the international art scene — for example, to the work of
Matisse or to contemporary concepts of art? My thesis addresses these questions by
situating Binning's work both regionally and internationally.
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Downey, Georgina. "Reading rooms : domesticity, identity and belonging in the paintings of Bessie Davidson, Margaret Preston and Stella Bowen in Paris and London 1910s - 1930s." 2004. http://arrow.unisa.edu.au:8081/1959.8/45746.
Full textAbstract:
This study explains how expatriate South Australian woman artists established both new lives and art careers in the modern metropoles of Paris and London in the early years of the twentieth century. It also argues that relocation to the modern metropole required new representational forms in their art practices. The interior view set in domestic, rather than public space was the particular form chosen by the women of this study to represent their experience of modern urban life.
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"Art and Trade: The Production and Consumption of Export Paintings of Hong Kong from the Mid-Nineteenth Century to Early Twentieth Century (1842 - 1920s)." 2016. http://repository.lib.cuhk.edu.hk/en/item/cuhk-1292302.
Full textAbstract:
本文探討十九世紀中葉到二十世紀初中國外銷畫於香港的生產及市場。從香港1842年成為英屬殖民地到1920年代的數十年間，香港的外銷畫市場歷經高低。當一方的人們透過收集紀念品而消費另一方文化時，被消費一方的物件常會被去脈絡化。在文化消費中，美學及真偽反而非最重要的購買考慮因素。「不中不西」的外銷畫自十八世紀興起，在攝影在中國發展成主流視覺文化前，一直為渴望了解東方世界的歐美人士傳譯中國。為進一步了解十九世紀國際貿易所促進的文化認識及交流，本文嘗試以香港為中心，分析其外銷畫市場及有關畫作，從而探討文化交流當中影響文化消費的因素。<br>本文分成三部分：第一部分回溯十八世紀廣州的外銷畫市場及回顧前人研究以建基後文。第二部分綜合殖民地文獻，探討十九世紀中葉後香港的外銷畫市場、生產方式、攝影興繪畫的結合、畫家群間的互動及行會組織。最後一部分分析香港的港口畫及輪船畫，由此推論外銷畫能於攝影當道時維持一定的市場需求在於其虛構視像空間，滿足想像的特性。<br>本文期望能予相關研究領域貢獻以下兩點：一、發掘一直不為人知的外銷畫畫家群。由於市場競爭激烈，畫家組成行會組織，嘗試把組織外的從業者趕離，或收編後分配客源及訂單。這個從殖民地年代文件及報紙發現的行會不但補充有關香港外銷畫市場的論述，填補有關畫家群體的空白，更佐證其時外銷畫市場白熱化之況。二、透過比較攝影及繪畫本質之別，解釋在十九世紀末到二十世紀演化出的繪畫-攝影工作間，一方面分析兩個視像系統何以融合或如何合作，為從業者獲取更大利益，另一方面探討外銷畫在攝影比畫像更獲歐美客源青睞時為何能保有一定訂單至二十世紀初，研究十九世紀歐美遊人消費香港這殖民地的圖像時背後隱含的欲望。<br>This project primarily looks at the production and consumption of Chinese export paintings of Hong Kong from the 1840s, since the practitioners began operating their business at the colony, to 1920s, when the export painting of Hong Kong dated afterward is rarely found. For around half a century, the industry experienced its highest and lowest. In the process of cultural consumption through collecting souvenirs, authenticity and aesthetics are described differently as the consumed culture is decontextualized for decorative purpose. To unearth such complexity of cultural reception and exchange propelled by thriving international trade during the late nineteenth century, this project attempts to put the export painting market in Hong Kong and its produce, the significant cultural documents visualizing China for its many wonderers, into an examination.<br>Largely inspired by Andre Basin’s visual art theory on epistemological realism and Nelson Graburn’s tourist art theory, the overall project situates itself in the larger current scholarship enquiry concerning commercial art production and marketing in the colonial as well as cultural consumption setting. This dissertation cultivates its contribution by filling in two research gaps: The first concerns the undiscovered social life of painters; the other regards to the division of themes between photography and painting when visualizing China. Also realizing that the export painting and imagery market of Hong Kong had been largely overlooked, a case study of the city is determined to be made.<br>The dissertation is divided into three chapters: The first chapter provides historical background and reviews current scholarships, in order to cohesively understand Chinese export painting since its origin in the Eighteenth century Canton. The second chapter concerns the production of images under the studios’ painting-photography system and presents the writer’s discovery on the painter’s trade union, known as the “Portrait Painters’ Association,” in the late Nineteenth century Victoria. The last chapter analyzes selected maritime paintings of the colony, namely port and ship portraits. It comes to the conclusion that the capability of painters to realize the imaginative world cheaply yet efficiently accounted for its protracting diminishment, while photography had gradually overridden painting in the already competitive market. The original and major contribution of this research to the field lies in its discovery of the “Portrait Painter’s Association” in Hong Kong and its explanation to the industry’s enduring survival till the early twentieth century.<br>Cheung, Tung.<br>Thesis M.Phil. Chinese University of Hong Kong 2016.<br>Includes bibliographical references (leaves ).<br>Abstracts also in Chinese.<br>Title from PDF title page (viewed on …).<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.
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McKetta, Dorothy Jean. "The Leo Castelli Gallery in Metro magazine : American approaches to post-abstract figuration in an Italian context." 2012. http://hdl.handle.net/2152/18520.
Full textAbstract:
Between the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri's Metro magazine--an international review of contemporary art. By placing his artists in Metro, Castelli inserted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli's gallery to a European audience and positioned them at the end of a succession of modern European styles. Specifically, Castelli's artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the "pure" abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli's contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli's artists brought to Metro, given cues from contemporary Italian theory and criticism--particularly that of Gillo Dorfles, who wrote on several of Castelli's artists.<br>text