Relevant bibliographies by topics / Art, American. History in art. Painting, American

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Art, American. History in art. Painting, American'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Art, American. History in art. Painting, American"

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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.
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Peters Corbett, David. "Painting American frontiers: “encounter” and the borders of American identity in nineteenth-century art." Perspective, no. 1 (June 30, 2013): 129–52. http://dx.doi.org/10.4000/perspective.1934.

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Köksal, Selma. "Apocalypse at Painting to Cinema: The end of Western Civilization and Hegemony." CINEJ Cinema Journal 7, no. 1 (2018): 58–71. http://dx.doi.org/10.5195/cinej.2018.187.

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As we know, the European-American Western civilization and authority has started to form with the Greek civilization, and strengthened itself through the advent of monotheistic religions. After the Renaissance era and industrial revolutions, the transition from feudalism to industrialization and then to capitalism, made Europe a center of the world. Yet, today, the center has been shifted to the line of Europe-America. In the art of painting, the concept of apocalypse is as old as the first paintings that depict the narrations about human existence. Yet, we can see this concept in an intensified way in the film arts. Finding its inspiration from the social world we live in, film art has been deeply affected by the social class struggles, income inequality, cold war period followed by two major wars, and environmental disasters. By analyzing examples from the history of art and directors from film arts (such as Tarkovsky, Iñárritu, Lars von Trier, and Nuri Bilge Ceylan) who use metaphorical sceneries in dystopian /utopian contents, this article will focus on decoding the signification of the concept of apocalypse throughout the history of humanity.
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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.

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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
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Sperling, Joy. "Painting the Dark Side: Art and the Gothic Imagination in Nineteenth-Century American Art." Journal of American Culture 27, no. 4 (2004): 454–56. http://dx.doi.org/10.1111/j.1542-734x.2004.148_24.x.

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Hansen, Bert. "Medical History as Fine Art in American Mural Painting of the 1930s." Canadian Bulletin of Medical History 36, no. 1 (2019): 80–111. http://dx.doi.org/10.3138/cbmh.246-012018.

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Grusin, R. "Landscape Art and Landscape History: Some Recent Works on North American Landscape Painting." Forest & Conservation History 34, no. 2 (1990): 83–84. http://dx.doi.org/10.2307/3983863.

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Bezzubova, O. V. "A descriptive mode in art and the issue of a representation." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 11–17. http://dx.doi.org/10.30725/2619-0303-2020-3-11-17.

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The predominant for XX century art studies tradition was seriously reconsidered during the 1970– 1980s during the so called «new art history» development, when many received concepts were called into question. A notion of descriptiv e mode of painting proposed by an American art historian S. Alpers is of great interest in this context because it allows us to revise the homogeneous development of European art. While elaborating the concept of descriptive mode of painting, Alpers took under consideration a wide range of historical and cultural sources thus contributed to the new research approach nowadays known under the title of visual culture studies. It is not less important that she also focused on the issue of pictorial representation, which inquires the essence of the work of art.
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Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).
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Dabakis, Melissa, and Kirsten Swinth. "Painting Professionals: Women Artists & the Development of Modern American Art, 1870-1930." Journal of American History 89, no. 3 (2002): 1077. http://dx.doi.org/10.2307/3092424.

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Dissertations / Theses on the topic "Art, American. History in art. Painting, American"

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Pfohl, Katie A. "American Painting and the Systems of World Ornament." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11537.

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This dissertation examines the work of nineteenth-century American painters Frederic Edwin Church, William Michael Harnett and Albert Pinkham Ryder, and focuses on the relationship between their work in painting and their work in the decorative arts. Through their decorative work, all three artists explored "systems of world ornament" that introduced them to an international range of ornamental form by compiling, cataloguing, and comparing ornament from nearly all cultures and eras. Combining all of world culture single folios, these "systems of world ornament" promised to help American artists and designers study and sort a wide range of cultural influences into temporal and geographic order and thus make sense of the increasingly internationalized nature of American material culture. As this dissertation argues, the study of these "systems of world ornament" became for American artists and designers a powerful--if problematic--tool for distilling the increasingly international nature of American art and culture into a material form--and a formal painterly language--that opened it up to comment and critique. Ornament has to a large extent been understood as a mode of retreat rather than engagement with the clean lines and streamlined aesthetic of the twentieth-century, a crust that had to be cleared from painting's surface so that it might embrace the revolutionary potential of the technological and artistic innovations of the twentieth-century, but this dissertation argues the opposite--that ornament crucially informed American painters' attempts to update painting in response to the artistic challenges of increasingly internationalized twentieth-century life.<br>History of Art and Architecture
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Sprinkle, Mark E. "Picturing home: Domestic painting and the ideologies of art." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623460.

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This dissertation describes domestic painting in Atlanta, Georgia between 1995 and 2004 as a market defined by its intentional connection of the ideologies and spaces of art with those of bourgeois domesticity. The first half of the work seeks to contextualize the market's various objects and texts within public and academic discourses on culture that commonly posit an antithesis between the practices of bourgeois women (especially decoration) and "high" or avant-garde art, as suggested by the sentiment, "GOOD ART WON'T MATCH YOUR SOFA." Thus, Chapter 1 addresses the promises and pitfalls of sociological approaches to understanding art in general, Chapter 2 addresses two recent field studies of local markets as examples of how methodological decisions can mask ideological bias, and Chapter 3 discusses the historical context behind the divorce of art and the home as part of the gendering of aesthetic creativity as a predominantly masculine pursuit, each chapter examining the place of the literature itself in the creation of the categories of art. The second part of the dissertation provides an account of the way paintings produced in the market encode its social and spatial relations as a way of visualizing the private home and its interpersonal contents. In Chapter 4, the author proposes intuitive vision to name distinctive visual habits and bodily practices of bourgeois domesticity in contemporary Atlanta, especially the role of artworks in the phenomenological space of the home. Chapter 5 focuses on integration as domestic painting's central quality and goal: the market's various agents are integrated in a coherent social milieu not restricted to art-related roles, but that is, nevertheless, focused through aesthetic experience of the physical and stylistic features of artworks as they, themselves, are integrated into specific domestic settings. Chapters 6 and 7 chart the concrete terrain of 'home-like' spaces devoted to the production and distribution of paintings in the market, while developing the distinction between phenomenological and sight-based representations of domesticity. Finally, the Conclusion returns to the supposed antithesis between avant-garde aesthetics and the various practices known collectively as decoration as a way to address the question, "What is bourgeois art?"
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Asplan, Michael Jay. "PAINTING THE DRAMA OF HIS COUNTRY: RACIAL ISSUES IN THE WORK OF WIFREDO LAM IN CUBA, 1941-1952." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973709584.

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Kilbane, Nora C. "A Tug From The Jug: drinking and temperance in American genre painting, 1830-1860." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1164648727.

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Elliott, Katherine Lynn. "Epic encounters: first contact imagery in nineteenth and early-twentieth century American art." Diss., University of Iowa, 2009. https://ir.uiowa.edu/etd/355.

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Since the early nineteenth-century when Americans began recording their short history in earnest, European explorers have held a central role in the nation's historical narrative, standing alongside the Founding Fathers as symbols of American ingenuity, determination, and fortitude. The nineteenth century also saw an explosion in the number of representations of first contacts between native populations and European and Euro-American explorers. These works range from fine art examples to illustrations in the popular media and were produced by artists across the artistic spectrum. Despite the popularity of the First Contact subject and its longevity within American art history, the importance of these images has, as of yet, been unexplored. This dissertation examines First Contact images created in America during the nineteenth and early twentieth-century by artists Robert Walter Weir, George Catlin, Thomas Moran, Albert Bierstadt, and Charles M. Russell. I argue that the subject's popularity can be attributed not just to their importance as depictions of epic moments of transition in national and cultural history, but to the openness, or the mutability, of the subject itself. The first meeting of two people is an event of great possibility and potential, but, as this extended examination of the subject demonstrates, it can also be transformed to communicate vastly different messages at different moments in history. As Americans simultaneously struggled to create a past, understand the present, and visualize the future, the First Contact subject, with its focus on the ambiguous meeting of two cultures, allowed a site in which to grapple with central questions and anxieties of the period, even as it depicted the past. They are thus complicated paintings that speak not to the facts of contact, but to the purposes served by these constructions and corrupted histories. Reading these First Contact paintings can help to illuminate a nineteenth-century understanding of history and also begin to elucidate the troubled legacy of Native/white relations since Columbus first encountered the New World.
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Iepson, Sarah M. "Postmortem Relationships: Death and the Child in Antebellum American Visual Culture." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236801.

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Art History<br>Ph.D.<br>Since Roland Barthes published Camera Lucida: Reflections on Photography in 1982, the prevailing theory about photography has revolved around its primary role as a manifestation of transience, death, and mortality. Whether one promotes the philosophy that the photographic image steals away the soul and promotes death, or that it simply captures images of those that have died or will die, the photograph has been commonly interpreted as a visual reminder of the finality of human life. At no time does such an interpretation appear to be more tangibly true than during the mid-nineteenth century when the photograph was commonly used to preserve the actual visage of death in post- mortem portraiture. Here, death is not suggested or implied, but is vividly present. However, the theoretical emphasis that Barthes placed on death has limited our understanding of such images by eliding other meanings historically associated with them. As an addendum to Barthes, I propose that post-mortem images - particularly those of children - represent a more complex relationship between life and death as it pertained to nineteenth-century American culture. Moreover, I believe that it is important to consider post-mortem photography in tandem with painted mourning portraiture, and to contemplate both within a larger visual and cultural context in order to gain a more holistic understanding of these images in antebellum America. My dissertation will re-situate post-mortem representations of children within the material and religious culture of antebellum America, amid evolving historical beliefs about the life of children, the concept of childhood, and ideas about child-rearing, not just postmodern theoretical notions of death. My particular focus on children responds to the poignancy of childhood death in antebellum America and the way in which these images particularly embody the belief in continued existence through the afterlife. By placing such images within the wider context of nineteenth-century culture, I will demonstrate that life existed in death for antebellum Americans through the physical or material presence of the photograph along with Christian spiritual associations regarding the soul and the afterlife. In other words, belief in an ongoing relationship between material and immaterial "bodies" was exteriorized in the painted or photographic representation of the physical corpse, enabling antebellum Americans to interpret the image as both the icon and physical residue of the soul. I will demonstrate that the materiality of the post- mortem image allowed antebellum Americans to preserve that sense of life within death. While the material presence of the image acted as a reflection of "being," spiritual beliefs in a heavenly afterlife permitted nineteenth-century viewers to meditate on the perpetuation, rather than the impermanence, of existence. While this complex historical dimension of post-mortem imagery - a dimension largely ignored by Barthes - provides the central focus of my dissertation, I will also analyze how these images were produced, commissioned, displayed, viewed, touched, cherished, and otherwise utilized in antebellum American culture.<br>Temple University--Theses
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Trever, Lisa Senchyshyn. "Moche Mural Painting at Pañamarca: A Study of Image Making and Experience in Ancient Peru." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11013.

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This dissertation is a study of the late Moche murals found within the adobe temples of Pañamarca, Peru (ca. 600-850 CE). This project was designed to redress the problem of iconographic decontextualization of the Pañamarca paintings that, through limited documentation and repetitive scholarly publication, had become effectively untethered from their material moorings and spatial settings. New fieldwork succeeded in contextualizing and conserving remains of all known mural paintings. This field research also resulted in the discovery of a new corpus of paintings at the site. Together these paintings form a case study on image making and visual experience in a Pre-Columbian era without contemporaneous writing. This art historical study of archaeological monuments makes several contextual moves. Most concretely it mounts evidence for the situated experiences of images by ancient beholders. This includes analysis of spatial patterns that governed both visual and kinaesthetic approaches to images, as well as forensic indices of human-image engagement and response through time. The approach is not, however, exhausted by the nested contexts of architecture, archaeology, and geography. Meaning is further established through the discernment of philosophical propositions set forth in the broader corpus of ancient Moche art, material culture, and ritual practice. This work proposes to yield emic perspectives on mimesis, corporeality, and spatiality. An embodied approach to image and space is not merely imported from theory developed elsewhere, but is grounded in the Andean cultural setting at hand. The orthodox Moche imagery of the Pañamarca murals was arrayed in specific, strategic ways in both plazas and private spaces. In some areas life-size paintings may have modeled mimetic performance that perpetually enlivened ritual architecture. Elsewhere densely composed imagery would have enveloped the bodies of ritual practitioners and devotees, as they were absorbed into a private architectural repository of specialized knowledge. This is unusual in the Moche world where the innermost spaces of lavishly decorated temple complexes are themselves usually devoid of painted images. The paintings of Pañamarca are interpreted as efficacious in the articulation, embodiment, and recollection of late Moche ideology and identity as it crystallized on the southern periphery in the Nepeña Valley.<br>History of Art and Architecture
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Arana, Emilia. "Eighteenth century caste paintings: The implications of Miguel Cabrera's series." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278537.

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This study examines caste paintings, an art form unique to eighteenth century colonial Mexico. Hundreds of caste paintings were produced, following a compositional template that remained fairly uniform throughout the century. The distinguishing characteristic of these images is their depiction and labeling of Mexico's racially mixed population. A broad discussion of the caste genre places these works in the context of hierarchical colonial society. Focus is on select images by prominent Mexican artist Miguel Cabrera, and the changes Cabrera brings to the caste template. This study places particular emphasis on the women of Cabrera's first two caste paintings, using examples from portraiture and other art forms for contrast. The noble cacique Indian woman of the first image is used as a way to highlight and explore representation of the European and Indian cultures that comprised the major dichotomy of New Spain's social organization.
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Buhler, Doyle Leo. "Capturing the game: the artist-sportsman and early animal conservation in American hunting imagery, 1830s-1890s." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2447.

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During the last half of the nineteenth century, American sportsmen-artists painted hunting-related images that were designed to promote the ideals of sporting behavior, conservationist thought, and the interests of elite sportsmen against non-elite hunters. Upper-class American attitudes regarding common hunters and trappers, the politics of land use, and the role of conservation in recreational hunting played a significant part in the construction of visual art forms during this period, art which, in turn, helped shape national dialogue on the protection and acceptable uses of wildlife. This dissertation takes issues critical to mid-century American conservation thought and agendas, and investigates how they were embodied in American hunting art of the time. Beginning with depictions of recreational sportsmen during the era of conservationist club formation (mid-1840s), the discussion moves to representations of the lone trapper at mid-century. These figures were initially represented as a beneficial force in the conquest of the American frontier, but trappers and backwoodsmen became increasingly problematic due to an apparent disregard for game law and order. I explore the ways in which market hunting was depicted, and how it was contrasted with acceptable "sportsmanlike" hunting methods. Subsequent chapters consider the portrayal of the boy hunter, an essential feature to the sportsman's culture and its continuance, and the tumultuous relationship between elite sportsmen and their guides, who were known to illegally hunt off-season. The last chapters address the subject of the wild animal as heroic protagonist and dead game still life paintings, a pictorial type that represented the lifestyle of sportsmen and their concern for conservative catches and adherence to game law. Developments in conservation during the period were significantly tied to class and elitist aspirations, and artist-sportsmen merged these social prejudices with their agenda for game conservation. Their representations of hunting art both responded to and promoted the conservationist cause.
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Crouch, Rachael M. "Rhetoric and Redress: Edward Hopper's Adaptation of the American Sublime." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1186602058.

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Books on the topic "Art, American. History in art. Painting, American"

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History of western American art. Chartwell Books, 1987.

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Tanaka, Masayuki. American heroism =: Amerikan heroizumu. Kokuritsu Seiyō Bijutsukan, 2001.

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A concise history of American painting and sculpture. IconEditions, 1996.

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Helen, Driggs, ed. Start exploring masterpieces of American art from the National Museum of American Art, Smithsonian Institution. Running Press, 1990.

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Painting Texas history to 1900. University of Texas Press, 1992.

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Handleman, Philip. Aviation: A history through art. I. Allan, 1994.

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American Society of Aviation Artists., ed. Aviation: A history through art. Howell Press, 1992.

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American impressionism. Abbeville Press, 2004.

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American impressionism. Abbeville Press, 1994.

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McGrath, Robert L. Art and the American conservation movement. U.S. Dept. of the Interior, National Park Service, Northeast Museum Services Center, 2001.

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Book chapters on the topic "Art, American. History in art. Painting, American"

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Schulman, Sarah. "Is the nea good for gay art?" In My American History. Routledge, 2018. http://dx.doi.org/10.4324/9781315121765-47.

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Bonfante, Larissa. "HISTORICAL ART: ETRUSCAN AND EARLY ROMAN." In American Journal of Ancient History, edited by Ernst Badian. Gorgias Press, 2017. http://dx.doi.org/10.31826/9781463237400-003.

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Cooke, Jennifer. "The Technical Study of Art." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-5.

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Flores, Tatiana. "Art, Revolution, and Indigenous Subjects." In The Routledge History of Latin American Culture. Routledge, 2017. http://dx.doi.org/10.4324/9781315697253-9.

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Cooke, Jennifer. "Two Generations of American Connoisseurs." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-2.

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Cooke, Jennifer. "Kulturgeschichte or Social History of Art?" In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-4.

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Larkin, Oliver W. "1950 Award. About the Art and Life in the United States." In American History Awards 1917–1991, edited by Heinz-D. Fischer. De Gruyter, 1993. http://dx.doi.org/10.1515/9783110972146-037.

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Cooke, Jennifer. "Introduction." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-1.

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Cooke, Jennifer. "The Far Side of the Moon." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-3.

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Cooke, Jennifer. "Italian Meiss-Fortunes." In Millard Meiss, American Art History, and Conservation. Routledge, 2020. http://dx.doi.org/10.4324/9780367138356-6.

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Conference papers on the topic "Art, American. History in art. Painting, American"

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Pacheco, Beatriz A., Werner Marin, Bruno Cruz, et al. "What where?! A game for learning art, history and architecture." In 2017 Twelfth Latin-American Conference on Learning Technologies (LACLO). IEEE, 2017. http://dx.doi.org/10.1109/laclo.2017.8120909.

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Stanton, Michael. "The American City." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.9.

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A city divides into forms and attitudes, into significances, in the most political of senses, into episodic impressions, grand narratives and great collective generalizations. Cities are the vehicles for vivid nostalgia and are often the victims of banal cliche, both in the making of their form and in the way they are perceived. They are collaborative works, and, like works of art, they are conceived passionately, formed imperfectly, understood and misread by a continually transforming and distracted collective. Cities embody myth and fact, blurring the border between the two. All this applies especially to the fraught history and troubled body of the American city.
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Abbott, Morgan S., Samuel I. Nofchissey, Paul G. Bushman, et al. "THE HISTORY OF WATER IN BEARS EARS NATIONAL MONUMENT, SOUTHEASTERN UTAH: TOWARDS A SYNTHESIS OF GEOCHRONOLOGY, NATIVE AMERICAN ORAL HISTORY AND ROCK ART." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-303377.

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Schindler, Florestan, Fritz Klocke, Richard Brocker, and Patrick Mattfeld. "A Discussion on Removal Mechanisms in Grinding Polycrystalline Diamond." In ASME 2014 International Manufacturing Science and Engineering Conference collocated with the JSME 2014 International Conference on Materials and Processing and the 42nd North American Manufacturing Research Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/msec2014-4102.

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In this paper, the removal mechanisms in grinding polycrystalline diamond (PCD) with vitrified bonded diamond grinding wheels are discussed fundamentally. After a short review about the history of diamond machining, the author summarizes the state of the art in PCD grinding and thus deduces gaps and a deficit in research. In order to analyze occurring removal mechanisms in PCD grinding, tool grinding tests were carried out. For the experimental investigations a conventional tool grinding machine has been modified in order to withstand process loads. Subsequent to the tests, the surface integrity of ground PCD inserts has been analyzed in detail for the first time. Therefore, focused ion beam (FIB) preparation, which has minimum invasive influence on the sub surface, was applied in order to get an insight into the substrate. Gained lamellae have been analyzed with transmission electron microscopy (TEM). The drawn conclusion questions solely ductile or brittle behavior as removal mechanisms. With reference to simulation researches about polishing diamond with diamond, alternative removal mechanisms should be regarded as well. Both, thermal and mechanical process loads might lead to thermo-physical and chemical effects on a microscopic scale which influences the material removal even in grinding.
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