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Dissertations / Theses on the topic 'Art deco Decoration and ornament'
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Lutz, Mark L. "Precedent and context." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23153.
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Harwood, Haupuru. "Characteristics of traditional and contemporary art and design on Auckland urban marae a thesis submitted in partial fulfilment of the requirements for the degree M.A [Master of Arts] (Art and Design), Auckland University of Technology, Te Waananga Aronui o Tamaki Makau Rau, 2003." Full thesis. Abstract, 2003. http://puka2.aut.ac.nz/ait/theses/HarwoodH.pdf.
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Raksadeja, K. "Digital and interactive media analysis of myths and traditions expressed in Thai fairground art." Thesis, Liverpool John Moores University, 2018. http://researchonline.ljmu.ac.uk/8604/.
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The core themes in Thai art have traditionally been didactic Buddhist ethical works and popular folkloric beliefs. Both are permeated with a cosmology and worldview that is supernatural but which is pervaded with ethical implications for people’s daily lives. Buddhist art aims to encourage selfless acts for the good of others, including other individuals, society, the country and the natural world. Such abstract themes have been rendered accessible to ordinary people by means of fantastical creatures and supernatural myths that insinuate moral values and demonstrate a coherent Theravada worldview that is uniquely Thai. This thesis explores the popular manifestations of such phenomena at the intersection of traditional folk beliefs and practices, popular entertainment, Thai official/ royal high culture and confessional Buddhist ethical instruction by analysing the art forms associated with temple fairgrounds at major festivals. Based on a review of related literature and analysis of Thai artists, it concludes that the renaissance of traditional Thai culture is reciprocal with authentic grassroots activities such as temple fairs fostered and supported by traditional patronage and cultural resources from the royal court culture and Buddhist ethics. Based on this analysis, my own work offers a modern rendering in the spirit of traditional forms utilising modern multimedia methods to create an immersive and interactive artistic experience.
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Bruneel, Benjamin. "Art and worship in Zwinglian theology." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1141.
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Mills, Lori. "Floralware /." Online version of thesis, 1989. http://hdl.handle.net/1850/10924.
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Hoban, Sally. "The Birmingham Municipal School of Art and opportunities for women's paid work in the Art and Crafts Movement." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5124/.
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This thesis is the first to examine the lives and careers of professional women who were working within the thriving Arts and Crafts Movement in Birmingham in the late nineteenth and early twentieth centuries. It utilises previously unresearched primary and secondary sources in art galleries, the Birmingham School of Art and local studies collections to present a series of case studies of professional women working in the fields of jewellery and metalware, stained glass, painting, book illustration, textiles and illumination. This thesis demonstrates that women made an important, although currently unacknowledged, professional contribution to the Arts and Crafts Movement in the region. It argues that the Executed Design training that the women received at the Birmingham Municipal School of Art (BMSA) was crucial to their success in obtaining highly-skilled paid employment or setting up and running their own business enterprises. The thesis makes an important new contribution to the historiography of The Arts and Crafts Movement; women's work in Britain in the late nineteenth and early twentieth centuries; the history of education and the industrial and artistic history of Birmingham.
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Popp, Sigrid. "Die Fresken von St. Vigil und St. Zyprian Studien zur Bozner Wandmalerei um 1400 /." Access full-text online, 1996. http://edocs.tu-berlin.de/diss/1996/popp%5Fsigrid.pdf.
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Çaycı, Ahmet. "Anadolu Selçuklu sanatında gezegen ve burç tasvirleri." Ankara : T.C. Kültür Bakanlığı, 2002. http://catalog.hathitrust.org/api/volumes/oclc/55133627.html.
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Kaplan, Craig S. "Computer graphics and geometric ornamental design /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6887.
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Measell, James Scott. "A provincial school of art and local industry : the Stourbridge School of Art and its relations with the glass industry of the Stourbridge district, 1850-1905." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7008/.
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Founded in 1851, the Stourbridge School of Art offered instruction in drawing, art and design to students engaged in industries, especially glass. Using social history methodology and primary sources such as Government reports, local newspapers and school records, this thesis explores the school’s development from 1850 to 1905 and explicates its relationships with the local glass industry. Within the context of political, economic, social and cultural forces, the school contributed to the town’s civic culture and was supported by gentry, clergy and industrialists. The governing Council held public meetings and art exhibitions and dealt with management issues. Working class men attended evening classes. Women from wealthy families attended morning classes. This thesis argues that a fundamental disconnect existed between the school’s purpose (art instruction to train designers) and its instruction (basic drawing and fine art). The school enrolled men employed in glass decorating but few from glass manufacturing. Classes reflected the South Kensington curriculum, and the art masters were unaware of the design needs of industry. Glass manufacturing firms provided modest financial support but did not encourage employees to attend, creating frustration for the Council. In contrast, similar schools in Brierley Hill and Wordsley were well-supported by the glass industry.
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Thickpenny, Cynthia Rose. "Making key pattern in Insular art, AD 600-1100." Thesis, University of Glasgow, 2019. http://theses.gla.ac.uk/41009/.
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Key pattern is a type of abstract ornament characterised by spiral shapes which are angular rather than curved. It has been used to decorate objects and architecture around the world from prehistory onward, but flourished in a unique form in Insular art (the art of early medieval Britain and Ireland, c. AD 600-1100). Ornament of many kinds was the dominant mode in Insular art, however, key pattern has remained the least studied and most misunderstood. From the 19th century, specialists mainly have relied on simplified, line-drawn reproductions rather than original artworks. These 'correct' hand-made details, isolate patterns from their contexts, and in the case of Insular key pattern, de-emphasise its important physical structures. This resulted in misunderstandings of key pattern's structure and an inability to recognise evidence for medieval artists' working processes. Postwar art historians and archaeologists then largely abandoned study of ornament structure altogether, in critical reaction to this earlier method. For two centuries, academics have overlooked the artists' role in pattern-making, and how their creative agency is reflected in patterns' internal structures. In response, this thesis presents a new, artist-centred method for the study of Insular key pattern, which adapts Michael Brennan's pioneering approach to Insular interlace (a different pattern), to suit key pattern's distinct structure. Close examination of objects and monuments, rather than idealised 'types', has revealed how Insular artists themselves understood key pattern and handled it in the moment of creation. The core of the thesis is an analysis of key pattern's structural properties, i.e. its physical parts and the abstract, often mathematical concepts that Insular makers used to arrange and manipulate these parts, in order to fix mistakes, fulfill specific design goals, or invent anew. Case studies of individual artworks support this analysis and demonstrate how key pattern is a vehicle for accessing Insular artists' thought processes, as they improvised with the pattern's basic structures for maximum creative effect. For the first time, this thesis also places Insular key pattern in its global context, via comparative analyses of key patterns from other world art traditions. This investigation has confirmed key pattern's origin in prehistoric basketry and weaving technologies and explains why Insular key pattern's geometric complexity remains unparalleled. The adaptation and expansion of this new analytical method for key pattern also proves its applicability to any type of ornament from any culture, making it immediately useful to art historians and archaeologists. This thesis therefore represents a larger paradigm shift that brings ornament study into the 21st century.
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衛翠芷 and Chui-chi Rosman Wai. "Peony on the lintel: traditional painting on a timber lintel in the Liu Ying Lung Study Hall." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B42181057.
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Wai, Chui-chi Rosman. "Peony on the lintel traditional painting on a timber lintel in the Liu Ying Lung Study Hall /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B42181057.
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Hahn, Stephanie. "Fulda "Zur Zierde der Stadt" : Bauten und Bauaufgaben der Residenzstadt im 18. Jahrhundert /." Petersberg : Imhof, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2642827&prov=M&dok_var=1&dok_ext=htm.
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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.
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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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Ney, Jason B. "Transculturalism in Emile Galle's art nouveau Ecole De Nancy and contemporary landscape architecture." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1191714.
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This study looks at the degree to which Emile Galle's theories of symbolic ornamentation are observed in contemporary landscape architecture design. Galle's theories consist of three components: the first relates to the functional aspects of design, and the last two relate to the aesthetic aspects. These three components are used to evaluate three case studies. In the case studies, Bicentennial Commons in Cincinnati and Canal Walk in Indianapolis show a partial though apparent utilization of Galle's theories, while Riverwalk in Milwaukee comes closest of the three to demonstrating the application of Galle's theories in Landscape Architecture. However, none fully exhibit Galle's theories. Nonetheless, the case studies, and in particular Riverwalk, exhibit the initial stages of a renewed interest in ornamentation in which culture is symbolically represented through nature. Landscape Architects, more than ever, are being called upon to embody the meaning of the land through a cultural synthesis in an expression of past/present and man/nature.Department of Landscape Architecture
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Bill, Brian Channing. "Pinball illustration : the artists and their careers /." Related Electronic Resource: Web site of the Internet Pinball Database:, 2001. http://www.ipdb.org/.
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Thesis (M.A.)--Syracuse University, 2001."Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Illustration in the Graduate School of Syracuse University." Includes bibliographical references.
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Atkinson, Victoria. "Unravelling the musical in art : Matisse, his music and his textiles." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/21219/.
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From flamenco guitarists to parlour pianists, Matisse’s images of music-making often appear within decorative scenes of gleaming carpets, multi-coloured costumes and lavishly embroidered wall hangings. All of these textiles and more comprised what he called ‘ma bibliothèque de travail’, a working library of inspiration that he maintained throughout his career. ‘I am made up of everything I have seen,’ he remarked, to which he might have added, ‘and heard.’ Practising, performing, listening and concert-going: music, like textiles, was a lifelong pursuit. But his passion for them is not simply of anecdotal significance, nor does it explain their mere co-existence as the subject-matter of his art. Rather, just as music and textiles are interwoven at every stage of his life, so too is their structural and conceptual significance in his work. In a series of case studies, a single textile from his working library is paired with the art it inspired: the kasāya robe and 'The Song of the Nightingale'; the Moghan rug and the Symphonic Interiors; and the Bakuba velours and 'Jazz'. In each case, visual form is found to have musical counterpart, both in the textiles themselves and as represented by Matisse. This opens up new, more imaginative possibilities of interpreting his visual musicality, which is found to be metaphysical, modal and motivic in concept. Finally, these separate strands are drawn together in a single synoptic analysis of the Chapel of the Rosary, the artist’s self-proclaimed masterpiece and ‘total’ work of art. This thesis explores the expansive musical space created by the reduced visual form of textiles. Considered together for the first time, these enduring and inseparable continuities of Matisse’s art – music and textiles – suggest not only a means of unravelling his own visual musicality, but point towards a much-needed methodology for interpreting this notion more broadly.
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Kellaris, Georgios. "The iconography of sanctuary doors from Patmos and its place in the iconographic program of the Byzantine iconostasis." Thesis, McGill University, 1991. http://books.google.com/books?id=4OjVAAAAMAAJ.
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Thesis (M.A.)--McGill University, 1991.Contains an English abstract and a French résumé. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 83-87).
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Heath, Anne Elizabeth. "Architecture, ritual and identity in the Cathedral of Saint-Etienne and the Abbey of Saint-Germain in Auxerre, France /." View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174619.
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Ginoux, Nathalie. "Le thème symbolique de "la paire de dragons" sur les fourreaux celtiques (IVe-IIe siècles avant J.-C.) : étude iconographique et typologie /." Oxford : J. and E. Hedges, 2007. http://catalogue.bnf.fr/ark:/12148/cb41160524d.
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.
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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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Dathe, Stefanie. "La Vera Cruz in Segovia dialektische Untersuchung zu Ursprung, Baugeschichte und Funktion eines romanischen Zentralbaus in Alt-Kastilien /." Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 2001. http://catalog.hathitrust.org/api/volumes/oclc/47702819.html.
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Bontemps, Sébastien. "Le décor sculpté religieux à Paris (1660-1760)." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3110.
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Ce travail de recherche sur le décor sculpté religieux à Paris a eu pour ambition de reconstruire l'image d'un patrimoine en partie disparu : l'espace interne de l'église parisienne entre 1660 et 1760 à travers le mobilier liturgique, le décor en relief ou en ronde-bosse, dans la nef, le transept et le chœur des églises de la capitale du royaume. Notre étude analyse ainsi la sculpture religieuse dans son espace d'inscription immédiat, entre art monumental et art décoratif, de la fin des grandes commandes religieuses royales du XVIIe siècle, tel le Dôme des Invalides, à l'avènement du néo-classicisme dans le chœur de Saint-Germain-l'Auxerrois en 1760, avant la reprise des grands chantiers royaux, inaugurés par les travaux menées à la basilique Sainte-Geneviève. Même si une partie de ces décors a été démonté à la Révolution, il est possible d'appréhender précisément leur contenu, les éléments détruits étant analysés à partir de nombreuses sources iconographiques et écrites qui permettent de restituer l'œil du contemporain dans une église. Grâce à la découverte de nombreux contrats d'archives, il a été possible de déterminer les conditions et les facteurs matériels et religieux de la commande. L'étude des textes critiques, issus de la théorie artistique et religieuse contemporaine, pose le problème du luxe du décor religieux, ainsi que le problème de l'organisation de l'espace intérieur de l'église, et dont est largement tributaire l'évolution stylistique et formelle du décor. Cette thèse, combinant histoire de l'art, histoire du visuel, histoire économique et histoire religieuse, contribue ainsi à la connaissance d'un patrimoine artistique français méconnuThis work on the religious sculptured decoration in Paris had for ambition to built the image of a partially disappeared heritage : the space interns of the Parisian church between 1660 and 1760 through the liturgical furniture, the relief decoration or in round-bump, in the nave, the transept and the choir of the churches of the capital of the kingdom. Our study so analyzes the religious sculpture in its immediate space, between monumental art and decorative art, the end of the big royal religious orders of the XVIIth century, such the Dome des Invalides, in the advent of the neoclassicism in the choir of Saint-Germain-l'Auxerrois in 1760, before the resumption of the big royal construction works, inaugurated by the works in the basilica saint-Geneviève. Even if a part of these decorations was destroyed in the Revolution, it is possible to determinate exactly their contents : the destroyed elements are analyzed from numerous iconographic and written sources which allow to restore the eye of the contemporary in a church. Thanks to the discovery of contracts of archives, it was possible to determine the conditions and the material and religious factors of the order. The study of the critical texts, stemming from the contemporary artistic and religious theory, raises the problem of the luxury of the religious decoration, as well as the problem of the organization of the internal space of the church, and on which is widely dependent the stylistic and formal evolution of the decoration. This work combine art history, history of the picture, economic history and religious history to contributes to the knowledge of an underestimated French artistic heritage
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Kiracofe, James Bartholomay. "Architectural fusion and indigenous ideology in early colonial Mexico : a case study of Teposcolula, Oaxaca, 1535-1580, demonstrating cultural transmission and transformation through negotiation and consent in planning a new urban environment /." Diss., This resource online, 1996. http://scholar.lib.vt.edu/theses/available/etd-11082006-133633/.
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Hinners, Linda. "De fransöske handtwerkarne vid Stockholms slott 1693–1713 : Yrkesroller, organisation, arbetsprocesser." Doctoral thesis, Stockholms universitet, Konstvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-73943.
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The thesis deals with French sculptors and painters active around 1700 at the Royal Palace in Stockholm. They were summoned from Paris by the architect Nicodemus Tessin the younger (1654–1728). This study analyses the Frenchmen’s professional roles, how Tessin organised their work and the working methods applied in the decoration of the Gallery of Charles XI and the adjoining parade rooms. It also involves questions concerning the artist’s roles and the status of artistic professions at the early modern period. The artisans were a group of some fifteen sculptors, painters, founders and a goldsmith. Several of them were accompanied by family members, some of whom were active in the workshop. In France these sculptors and painters had worked in the Bâtiments du Roi and particularly at the Gobelins. Although they were not part of the artistic elite at the Académie Royale de Peinture et de Sculpture they had vital knowledge in classical pattern/design, le bon goût and drawing. The artisans were also members of the guild system and were thus permitted to accept private commissions. My aim has been to clarify the artisans’ background in Paris and the recruitment undertaken by the diplomat Daniel Cronström (1655–1719). With regard to their activities in Sweden, it has been important to clarify their conditions in the building organisation at the Royal Palace, including social contexts such as their family situation and the possibility to practise their Catholic faith. Equally important is the professional relationship between the Frenchmen and Tessin, who was appointed Superintendent in 1697. Through detailed archival studies, the working practices and the creative process are analysed, especially the collaboration between Tessin and the painter Jacques Foucquet and the sculptors René Chauveau (1663–1722) and Jacques Foucquet (1639–1731).
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Hammond, Joseph. "Art, devotion and patronage at Santa Maria dei Carmini, Venice : with special reference to the 16th-Century altarpieces." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3047.
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This study is an art history of Santa Maria dei Carmini, Venice, from its foundation in c. 1286 to the present day, with a special focus on the late Renaissance period (c. 1500-1560). It explores a relatively overlooked corner of Renaissance Venice and provides an opportunity to study the Carmelite Order's relationship to art. It seeks to answer outstanding questions of attribution, dating, patronage, architectural arrangements and locations of works of art in the church. Additionally it has attempted to have a diverse approach to problems of interpretation and has examined the visual imagery's relationship to the Carmelite liturgy, religious function and later interpretations of art works. Santa Maria dei Carmini was amongst the largest basilicas in Venice when it was completed and the Carmelites were a major international order with a strong literary tradition. Their church in Venice contained a wealth of art works produced by one of the most restlessly inventive generations in the Western European tradition. Chapter 1 outlines a history of the Carmelites, their hagiography and devotions, which inform much of the discussion in later chapters. The second Chapter discusses the early history of the Carmelite church in Venice, establishing when it was founded, and examining the decorative aspects before 1500. It demonstrates how the tramezzo and choir-stalls compartmentalised the nave and how these different spaces within the church were used. Chapter 3 studies two commissions for the decoration of the tramezzo, that span the central period of this thesis, c. 1500-1560. There it is shown that subjects relevant to the Carmelite Order, and the expected public on different sides of the tramezzo were chosen and reinterpreted over time as devotions changed. Cima da Conegliano's Adoration of the Shepherds (c. 1511) is discussed in Chapter 4, where the dedication of the altar is definitively proven and the respective liturgy is expanded upon. The tradition of votive images is shown to have influenced Cima's representation of the donor. In Chapter 5 Cima's altarpiece for the Scuola di Sant'Alberto's altar is shown to have been replaced because of the increasing ambiguity over the identification of the titulus after the introduction of new Carmelite saints at the beginning of the century. Its compositional relationship to the vesperbild tradition is also examined and shown to assist the faithful in important aspects of religious faith. The sixth chapter examines the composition of Lorenzo Lotto's St Nicholas in Glory (1527-29) and how it dramatises the relationship between the devoted, the interceding saints and heaven. It further hypothesises that the inclusion of St Lucy is a corroboration of the roles performed by St Nicholas and related to the confraternity's annual celebrations in December. The authorship, date and iconography of Tintoretto's Presentation of Christ (c. 1545) is analysed in Chapter 7, which also demonstrates how the altarpiece responds to the particular liturgical circumstances on the feast of Candlemas. The final chapter discusses the church as a whole, providing the first narrative of the movement of altars and development of the decorative schemes. The Conclusion highlights the important themes that have developed from this study and provides a verdict on the role of ‘Carmelite art' in the Venice Carmini.
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Tomasztczuk, Daria Olana. "Theodoric the Great's palace church of Christ the Redeemer at Ravenna, the later Sant' Apollinare Nuovo." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98588.
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This thesis is an overview of the historical context in which the church of Christ the Redeemer (Sant'Apollinare Nuovo) in Ravenna, Italy, was erected. It explores the forces responsible for shaping the church at the time of its construction and decoration in the sixth century. The basilica had gained popularity of usage as a model for the Christian Church in the West by this time. This thesis further explores the conclusions put forth by scholars that the basilica was the forum in which the transition of architectural imperial symbolism from the pagan empire to the new Christian Church took place, that the Church adopted the court ceremony of the emperor for its liturgy, and that the symbolism previously associated with the emperor was transferred to Christ resulting in the identification of the basilica as the throne hall of Christ. A study of the mosaics adorning the nave walls describes the significance of their origins and meaning.
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Cordon, Nicolas. "Aux frontières du décor : le stuc dans l'art romain de la Renaissance. Marginalité, simulacres, transgressions." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H050.
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Technique décorative antique plébiscitée par l’art romain, le stuc connaît une véritable renaissance à Rome durant le XVIe siècle. À partir d’un intérêt pour une esthétique antiquisante, les artistes modernes ont intégré le stuc à des problématiques plus précises concernant le dialogue entre les arts et l’exploration des frontières implicites et explicites délimitant l’art et son espace de réception. Le stuc est en effet employé à la Renaissance aussi bien en architecture (pour les moulures et ornements, pour recouvrir la brique et donner une allure « marmoréenne » aux édifices), en peinture (pour servir de support à la fresque et y intégrer le relief) et en sculpture (pour l’exécution de reliefs figuratifs et de figures allant jusqu’à la ronde-bosse, intégrées le plus souvent à un décor peint). Loin d’opposer ces disciplines, le stuc les relie en s’emparant de leurs modes d’expression pour les faire cohabiter au sein du décor et, ce faisant, permet aux artistes d’adopter un point de vue réflexif quant à leur pratique, orienté vers l’investigation des moyens et natures de la représentation. Cette introspection se double, comme un corollaire, d’une investigation des effets de l’art et de sa capacité à convoquer le spectateur, à l’impliquer et l’intégrer au sein de la représentation afin de rendre plus mouvantes et fluctuantes les limites du décor. À partir d’une position « ornementale », voire « marginale », nombre de figures de stuc exécutées à Rome dès avant l’âge Baroque semblent vouloir offrir à la notion de frontière une application très originale, où les questions du simulacre et de la transgression se trouvent subtilement investies et convoquéesAs an ancient decorative technique favoured by Roman art, stucco is given a genuine renaissance in Sixteenth century Rome. Modem artists’ general interest in Antiquity includes more precise considerations regarding the possible functions of stucco in the dialogue between the arts, and explorations of the frontiers separating art from its beholder. Indeed, stucco is being used during the Renaissance in architecture (for the moulding and ornaments, to coat brick walls and give it a "marmoreal" appearance), in painting (as an intonaco for fresco) and in sculpture (to make figurative reliefs and free standing figures, generally combined with mural paintings). Far from opposing the arts, stucco connects them by taking possession of their modes of expression to make them work together inside the decorative systems and, doing so, gives the artists the opportunity to adopt a reflexive point of view regarding their practice, looking toward the investigation of the nature and means of representation. This particular introspection is also a research on the effects of art and its ability to convoke the beholder, to make him part of the representation and make more ambivalent the boundaries of decoration. From an "ornamental", even "marginal" position, numerous stucco figures executed in Rome before the Baroque age give the concept of aesthetic frontier an original instance, where simulacra and transgression are ingeniously summoned
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Beyer, Vera. "Rahmenbestimmungen : Funktionen von Rahmen bei Goya, Velázquez, van Eyck und Degas /." Paderborn : Verlag Wilhelm Fink, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3037654&prov=M&dok_var=1&dok_ext=htm.
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Lafontaine, Nancy. "L'iconographie historique et ouvrière d'Ozias Leduc à Shawinigan-Sud." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ44708.pdf.
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Crippa, Benedetta. "World of Desire." Thesis, Konstfack, Grafisk design & illustration, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5855.
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This project report offers an in-depth, detailed account of my creative process and work during my two-year Master in visual communication at Konstfack, Stockholm. My degree project is a celebration of plurality and visual democracy. Starting with identifying different norms pervading the graphic design discipline in the Western world today, both in terms of aesthetic values and systems of thinking, I have worked to propose and visualize alternative possible futures. Drawing has been my main carrier through an intense journey of un-learning and re-learning resulting in an artist’s book in unique copy. With this book, I want to problematize the dominant discourses around objectivity as a utopian ideal with a suppressive agenda, while visualizing a world I can recognize myself in. I have used decoration as a method, emotion and femininity as explorative standpoints, giving space to the metaphorical, the ambiguous and the spiritual to challenge current visual norms. This book emerges as an affirmation of my own quest for visual belonging as a graphic designer and a woman; a testimony of the practice of drawing as actualized power.
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Freschi, Federico. "The politics of ornament Modernity, Identity, and Nationalism in the Decorative Programmes of Selected South African Public and Commercial Buildings 1930 – 1940." Thesis, 2007. http://hdl.handle.net/10539/2014.
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Student Number : 8546313 -
PhD thesis -
School of Arts -
Faculty of HumanitesThis thesis interrogates the extent to which the façades of, and decorative programmes in, selected South African public and commercial buildings erected during the decade 1930 – 40 may be understood as important indexes of the various ideological, social and historical concerns underpinning the construction of an imaginary of national belonging during this period. In the context of rapid urbanisation, burgeoning industrialisation, and rampant capitalism that characterise the period, issues of nationalism and political power are brought into sharp relief, with three political agendas competing for dominance: Afrikaner nationalism at one extreme and British imperialism at the other, with, from 1933 to the end of the decade, the insipid ‘South Africa First’ nationalism of the Smuts-Hertzog ‘fusion’ government occupying a highly contested space somewhere between the two. I argue in this thesis that the rhetoric of ‘unity in diversity’ that informs the fusion politics of the 1930s, and particularly its expression in the decorative programmes of public buildings provides for a more nuanced reading of the political and cultural landscape of 1930s South Africa than has been the case to date, where the focus has tended towards deconstructing the cultural nationalism of the 1930s in terms of the rise of Afrikaner nationalism. Moreover, it also serves as a compelling reference point against which to assess contemporary South African attempts to re-narrate notions of nationhood, and the extent to which difficult arguments around ethnicity, autochthony, and the construction of imaginary new ‘publics’ are articulated in post-apartheid public architecture. Chapter 1 is a review of the literature that informs this thesis; both as regards the art historical discourse on South African inter-World War art and architecture, as well as theoretical issues arising from writing on nationalism, national identity, and the role that art and architecture plays in evolving the nation code. In Chapters 2 and 3, I consider the ways in which the notions of identity arising from fusion politics are played out in the decorative programmes of two significant public buildings, South Africa House in London (1933) in Chapter 2 and the Pretoria City Hall (1935) in Chapter 3. I argue that both these buildings are classic examples of the manifestation in architectural terms of the hybrid identity being forged by the centrist ‘South Africa first’ ideologues, in so far as their decorative programmes express an uncomfortable alliance between the entrenched values of British imperialism and a burgeoning Afrikaner nationalism. In Chapter 4, I contrast the decorative programme of the headquarters of the new Afrikaner insurance companies SANTAM and SANLAM (1932) with that of the new corporate headquarters of the Commercial Union Assurance Company (1932), a British owned firm that had had a presence in Cape Town since 1863. The differences in effect of the decorative programmes of these two buildings serve to illuminate the extent of the ideological posturing of volkskapitalisme and its construction of a ‘modern African/Afrikaner’ identity within the imperialist heartland of Cape Town. These debates are brought into sharp relief by the third example discussed in this chapter, the Old Mutual building (1940), the decorative programme of which effectively conflates these concerns with modernity and nationalism in order to construct a hybrid ‘South Africanism’ that neatly elides Boer and Brit imaginings. In conclusion, I show in Chapter 5 how the post-apartheid South African situation presents an interesting case study in terms of constructing an imaginary of national belonging rooted in similar notions of ‘unity in diversity’. Examples here include important national architectural commissions like the legislature buildings for the newly constituted provinces of Mpumalanga (1999) and the Northern Cape (2003), as well as the new Constitutional Court in Johannesburg (2004). In this chapter, I interrogate these debates, and conclude by pointing to parallels with the case studies from the 1930s. The post-1994 examples in question have been widely celebrated as exemplary of a new and appropriate response to the challenges of public building in democratic South Africa. I suggest, however, that the lessons of the 1930s should serve as a reminder that the ostensible dichotomy between ‘good’ (civic) and ‘bad’ (ethnic) nationalism is perhaps not as natural and obvious as it may appear, and that both are equally problematic.
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Daw, Robyn. "Hors-d'oeuvres : ornamental decoration and gender." Thesis, 1999. https://eprints.utas.edu.au/19709/1/whole_DawRobyn1999_thesis.pdf.
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In this thesis I propose to make explicit the historical basis of the connection
between ornamental decoration and the feminine and reveal this as not just something
inherently 'female', but a product of historical conventions and interpretation. I wish
to show how this has impacted on the way artists and theorists have approached
ornamental decoration, its reception in the public domain, and how contemporary
artists have achieved a critical approach that both relies upon and is distinct from
previous artists' and critics' interpretations. The 'feminine' is as much an historical
construction as the link between it and ornamental decoration: neither are biologically
determined. Yet it is still difficult to dissuade viewers from this assumption.
In order to achieve my aims, this thesis investigates the evolution of the link between
ornament and the feminine through an analysis of the terms 'ornament' and
'decoration' and traces the history of the feminisation and subsequent denigration of
ornamental decoration through a discussion and comparison of historical and modern
writers on the subject. It addresses how ornament has become connected to the
feminine and indicates the implications for artists who choose to use it. It also
investigates various attempts to reinsert ornamental decoration into contemporary
visual art, paying specific attention to the exploitation of the 'feminine', and the
critical reception of these attempts.
What is revealed is that, even when ornamental decoration is used to critique or
subvert the historical construction that gave rise to the dichotomy, often it serves to
reinforce its reductive, essentialist position, to the extent that it remains problematic
for women artists to use it without being perceived solely as taking a 'feminine'
position, and falling victim to the dichotomies that have denigrated it as trivial and
extrinsic to form.
Through investigating contemporary visual art and theory, particularly those which
suggest alternative models for approaching the construction of gender, I propose a
possible direction by which the dichotomy that sees ornamental decoration as
extrinsic to form, can be transcended.
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Chiou-Peng, Tze-Huey. "The "animal style" art of the Tien culture." 1985. http://catalog.hathitrust.org/api/volumes/oclc/18250668.html.
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Sacks, Ruth. "Congo style: from Belgian Art Nouveau to Zaïre’s Authenticité." Thesis, 2017. https://hdl.handle.net/10539/24464.
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A dissertation submitted to the Faculty of the Humanities, University of the Witwatersrand, In fulfillment of the requirements for the degree of Doctor of Philosophy (Art History), September 2017This thesis analyzes how the Congo has been represented in modernist design situations, from colonial depictions to variegated forms of Congolese self representation. Architecture and art exhibitions in Euro-America and the Democratic Republic of the Congo are approached as points of contestation and intersection. The aim is to look at mutual dependencies and interrelations in modernist forms and spatial practices that migrate and mutate across huge distances and time spans. Links and recurring tropes are located in Art Nouveau total artworks in Belgium (circa 1890 -1905), Congolese objects in 20th century gallery space (from MOMA in the 1930s to 1970s Kinshasa), imperial remains from the early 1900s (in present day Mbanza Ngungu and Kinshasa) and the Africanist aesthetics of Mobutu Sese Seko’s era of retour a l’authenticité (1970s). In revisiting historic representations of the Congo, certain forms and spatial practices emerge, whose meanings are revealed according to how they engage with and are acted upon by their different contexts and temporalities.
XL2018
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Ostrow, Steven F. "The Sistine Chapel at S. Maria Maggiore Sixtus V and the art of the Counter Reformation /." 1987. http://catalog.hathitrust.org/api/volumes/oclc/21992290.html.
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Thesis (Ph. D.)--Princeton University, 1987.Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 507-544).
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Matos, Michael Anton Hahn Cynthia J. "The icon of the Madonna Della Clemenza patronage, placement, purpose /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04102005-191335.
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Thesis (M.A.)--Florida State University, 2005.Advisor: Dr. Cynthia Hahn, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed June 8, 2005). Document formatted into pages; contains vii, 70 pages. Includes bibliographical references.
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Hughes, Peter. "The ethics of rust : an interpretation of Ruskin's Gothic." Master's thesis, 1995. http://hdl.handle.net/1885/143656.
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The aim of the thesis is to demonstrate that the critical theories of John Ruskin have a particular interest to us at the end of the 20th century. The basis for this claim is that Ruskin’s mode of thought was essentially ecological. By this I do not mean to suggest that he was simply interested in nature conservation or environmental degradation. Rather, the term “ecological” is used to refer to a much broader paradigm shift. The thesis has three chapters, the 1st of which deals with broad cosmological issues. It traces an ecological pattern of thought in Ruskin’s critical writing, and defines ecology as a paradigm shift, in contrast to instrumental varieties of environmentalism. It shows how different understandings of nature are reflected, and reflect, understandings of human society and culture. The 2nd chapter examines Ruskin’s use of Gothic and Classical architecture as metaphors to describe these different world views. The Classical is made to represent a mechanistic and atomistic conception of reality which focuses on universals and mathematical abstraction. The Ruskinian Gothic represents a holistic and ecological conception of reality which focuses on the contingent and specific, and is rooted in the concrete experience of reality. The 3rd chapter seeks to demonstrate that these broad ecological concerns - through Ruskin’s interpretation of the Gothic - locate his theories about ornament within a broader critique of industrial civilisation. Because Ruskin saw ornament as essentially intermediary, located in the individual’s experience of nature, society and history, he believed it to be profoundly incompatible with industrial production. In this respect he was unlike contemporaries who sought to find a new ornamental style suited to the industrial era. Ultimately, Ruskin believed that art could not change the world, but argued that if the world wanted art it would have to change.
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Nhlangwini, Andrew Dandheni. "Pictography embedded in traditional African decorated walls and floors as an early cultural language : the case of three languages in Limpopo province." Thesis, 2018. http://hdl.handle.net/10500/25321.
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The colonial era brought about Western civilisation, industrialisation, urbanisation and technology that led to the negation of the validity of the traditional wall decorations and the meaning behind what is understood as merely decorative shapes and parttens. To research as to whether this is true, the aim of this study is to establish whether the symbols applied on the traditional African murals have any linguistic significance. The research investigated the pictography embedded in the traditional murals of three linguistic groups, namely the Balobedu, Vatsonga and Vhavenda in Limpopo Province.
The researcher gathered and recorded from the surviving elders the vital codes which unlock the meaning of signs, symbols, colours and geometric shapes before the knowledge is lost forever when they die. Data was collected mainly from Vatsonga female elders in their homes by using unstructured interviews. Traditional huts are decorated with symbols, signs, shapes, lines, and colours on the maguva (walls around the courtyard), mavala ya nghotsa (design and patterns, mainly in repeated half circles (figures 26 to 35)), mabilomu/swiluva/ swiphaswana (calabash/gourd flowers), ku sindza hi makholo (patterned cow dung floor) and ku tsema (coloured bands around the hut), depicted in figures 12 to 15. According to the respondents, the maphapha (calabashes/gourds) is a symbol for the plant that feeds the people. The plant from which maphapha are made, has heart-shaped green leaves and yellow flowers that develop into a calabash/gourd, which are consumed as food (figures 10–11). In this sense, it represents a woman and her responsibilities as carer and life giver.
The results affirm that the pictography is not merely a reproduction of common decorative patterns, but is instead the source of an ancient visual expressive language carried down from generation to generation through oratory and visual narratives in the form of symbols, and signs. The study recommends the preservation of the linguistic significance of the traditional South African murals that have long been marginalised, possibly encouraging the younger generations to review their own history.African Languages
D. Litt. et Phil.(African Languages)
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Slaymaker, Peter James Victor. "Augustine and the Trinity vision in the Vita Sancti Augustini Imaginibus Adornata." Thesis, 2013. http://hdl.handle.net/1805/3886.
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