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Dissertations / Theses on the topic 'Art History. Painting, Renaissance'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Silberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.

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2

Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.

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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as

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3

Howard, Rebecca Marie. "Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.

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4

Lafille, Pauline. "« Composizioni delle guerre e battaglie » : enquête sur la scène de bataille dans la peinture italienne du XVIe siècle." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP058.

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La thèse étudie les enjeux politiques et artistiques de la scène de bataille dans la peinture monumentale au XVIe siècle en Italie, avant que la représentation de la guerre ne présente une distinction entre peinture d’histoire pour les faits anciens et peinture historique pour les faits contemporains, selon les catégories artistiques qui s’affirment au cours du XVIIe siècle. C’est pourquoi notre étude ne propose pas une histoire de la scène de bataille mais une enquête au sujet de compositions singulières, sur les problématiques politiques, idéologiques, esthétiques et culturelles qui les trav

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5

YELLIG, CATHERINE L. "RETHINKING THE RENAISSANCE COURTESAN: CONTEMPORARY INTERPRETATION OF THREE PAINTINGS BY TITIAN (TIZIANO VECELLIO, c 1485-1576)." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1178629291.

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6

Panbehchi, Michael J. "The Triumphs of Alexander Farnese: A Contextual Analysis of the Series of Paintings in Santiago, Chile." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3628.

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This dissertation examines a series of nine paintings depicting the battles of Alexander Farnese in Flanders created by the Cuzco School of Painters in eighteenth-century Peru. This research asks why and how paintings depicting sixteenth-century European battles were meaningful in the eighteenth century. Due to an absence of archival documentation on the authorship, production and patronage of the series, the research method is contextual. Starting with a formal and iconographic analysis of the paintings centered on a comparison between the paintings and the engravings upon which they are base

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7

Tabur, Michel. "Le lieu et l'action : exactitude et véridicité dans la peinture d'histoire à la Renaissance." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H098.

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La thèse est partie d’une œuvre, la tenture de La conquête de Tunis, dont les douze panneaux étonnent par leur niveau exceptionnel d'exactitude topographique et historique. Jusqu’à quel point la recherche de l’exactitude et de la véridicité qui semble apparaître dans certaines œuvres d’histoire à la Renaissance est-elle compatible avec le dessein artistique de leurs auteurs ? Dans quelles conditions, dans quel but et avec quelle postérité s'est-elle propagée ? Telle est la problématique, aux conﬁns de l'histoire, abordée dans cette thèse. Elle est explorée par le biais de cinq approches différ

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8

Rowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.

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La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les

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9

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'

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10

Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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11

Jolivet, Anna. "Représentations de l'école vénitienne en France au XIXe siècle : une écriture de l'histoire de l'art entre enjeux artistiques, scientifiques et idéologiques." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00779462.

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Cette thèse est un travail historiographique qui découle d'une étude des textes consacrés à la peinture vénitienne, publiés en français entre 1800 et 1914. Tout en considérant ces documents dans leur diversité (ouvrages savants ou de vulgarisation, récits de voyages), il s'agit de les replacer dans un contexte de formation de l'histoire de l'art comme champ autonome de connaissances. Car du fait de son statut encore incertain au XIXe siècle, la discipline se nourrit d'une littérature variée, et jette dans le même temps les fondements d'un savoir institutionnalisé. La notion d'école de peinture

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12

Nibbs, Simone E. "Binding Ochre to Theory." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/122.

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Widely found throughout the archaeological and artistic records in capacities ranging from burial contexts to early evidence of artistic expression, red ochre has been studied in archaeological and art conservationist communities for decades. Despite this, literature discussing binders is disparate and often absent from accessible arenas. Red ochre is important historically because its use can be used to help further the understanding of early humans, their predecessors, and their cognitive capabilities. However, there is not much written speculation on the processes involved in binder selecti

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13

David, L. Kencik. "The Triumph of the Eucharist in the Paintings for the Sala dell’Albergo and the Sala Superiore in the Scuola Grande di San Rocco by Jacopo Tintoretto (ca. 1518/19-1594)." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1590600384514719.

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14

Barry, Marie Porterfield. "Lesson 08: The Renaissance." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/9.

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This lesson covers artworks created during the Renaissance in Europe. It begins with a preface on artworks created prior to the Renaissance that focused on Christian ideology and iconography. Artists discussed include Botticelli, Donatello, Michelangelo, Bernini, and Leonardo da Vinci.

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15

Knotts, Robert Marvin. "Judith in Florentine Renaissance Art, 1425-1512." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1261076833.

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16

Tycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.

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While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis d

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17

Reed, Laurel Elizabeth. "Approaches to fifteenth- and early sixteenth-century painting in Dalmatia." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355597.

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Thesis (Ph. D.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 378-402).

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18

Kline, Jonathan Dunlap. "Christian Mysteries in the Italian Renaissance: Typology and Syncretism in the Art of the Italian Renaissance." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/4976.

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Art History<br>Ph.D.;<br>My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and

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19

Faure, Agnès. "Mythes et fictions en histoire de l'art : histoire de la réception de l'image de Jean Cousin et étude critique des interprétations de l'Eva prima Pandora." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00994497.

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Jean Cousin a suscité différentes formes de réception, révélatrices des enjeux discursifs des historiographes. De même, l'analyse critique des textes qui ont été produits sur l'Eva prima Pandora a fait émerger plusieurs problématiques inhérentes au processus de l'interprétation des œuvres d'art, au discours produit sur la peinture. À partir d'un contexte documentaire lacunaire, qui concerne autant le peintre que son tableau, les auteurs ont crée des fictions révélatrices de leur orientation méthodologique et des attentes de leur époque d'expression.Nous porterons donc un regard critique sur la

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20

Barry, Marie Porterfield. "Lesson 13: Mirrors in Renaissance and Baroque Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/14.

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21

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 artist

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22

Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.

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<p> The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all

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23

Barry, Marie Porterfield. "Lesson 09: Michelangelo- From High Renaissance to Mannerism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/10.

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24

Bokelman, Dorothy Jane. "Portraits in extremis : severed heads in Renaissance and Baroque portraiture /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957196.

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25

Hansbauer, Severin. "Das Oberitalienische Familienporträt in der Kunst der Renaissance : studien zu den Anfängen, zur Verbreitung und Bedeutung einer Bildnisgattung /." Würzburg : S.J. Hansbauer, 2004. http://www.loc.gov/catdir/toc/fy0708/2006485141.html.

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26

Martone, Thomas. "The theme of the conversion of Paul in Italian paintings from the early Christian period to the high Renaissance." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/11970051.html.

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27

Hayden, Margaret. "The Medici Example: How Power Creates Art and Art Creates Power." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3917.

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This project looks at two members of Florence’s Medici family, Cosimo il Vecchio (1389-1464) and Duke Cosimo I (1519-1574), in an attempt to assess how they used the patronage of art to facilitate their rule. By looking at their individual political representations through art, the specifics of their propagandist works and what form these pieces of art came, it is possible to analyze their respective rules. This analysis allows for a clearer understanding of how these two men, each in very different positions, found art as an ally for their political endeavors. While they were in power only on

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28

Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.

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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl

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29

Barry, Marie Porterfield. "Lesson 10: The Northern Renaissance and Arnolfini Double Portrait." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/11.

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30

Haughton, Ann. "Mythology and masculinity : a study of gender, sexuality and identity in the art of the Italian Renaissance." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/68267/.

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The concerns of this thesis are aligned with approaches to the historical study of sexuality, gender and identity in art, society and culture which are increasingly articulate and questioning at present. However, it is distinct from these recent studies because it redirects attention toward a stimulating encounter with the past through new theoretical proposals and interpretive perspectives on the manner in which mythology asserts itself as the vehicle for expressing male same-sex erotic behaviour, gender performance and masculine identity in the visual culture of the Italian Renaissance. By f

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31

Cardwell, Thomas. "Still life and death metal : painting the battle jacket." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12036/.

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This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated

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32

Gephart, Kathryn B. "Ellen Anderson, Mildred Burrage, and the Errancy of Modernist Painting." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367942693.

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33

Harari, Yuval Noah. "Renaissance military memoirs : war, history, and identity, 1450-1600 /." Woodbridge : Boydell Press, 2004. http://catalogue.bnf.fr/ark:/12148/cb392083492.

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Texte remanié de: Th. Ph. D.--Oxford--Jesus College, 2002. Titre de soutenance : History and I : war and the relations between history and personal identity in Renaissance military memoirs, c. 1450-1600.<br>Bibliogr. p. 205-218. Index.

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34

McCray, William Patrick. "The culture and technology of glass in Renaissance Venice." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290650.

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Venetian glass, especially that of the Renaissance, has been admired for centuries due to its quality workmanship and overall visual appeal. In addition, a certain mystique surrounds the glassmakers of Venice and their products. This dissertation research undertakes a comprehensive view of the culture and technology of Renaissance Venetian glass and glassmaking. Particular attention is paid to luxury vessel glass, especially those made of the "colorless" material typically referred to as cristallo. This segment of the industry is seen as the primary locus of substantial technological change. T

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35

Thomas, Jenna Caye. "Visions of the East: Influence of the Levant on the Italian Renaissance." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1448533555.

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36

Cardarelli, Sandra. "Siena and its contado : art, iconography and patronage in the diocese of Grosseto from c.1380 to c.1480." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=167749.

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This study examines the artistic output in the diocese of Grosseto, which was part of Sienese controlled territories in Medieval and Renaissance times, and sheds light on the artists who worked there, the works that they produced, the purpose of these works and the way that these were shaped by local patrons, popular beliefs and long- standing traditions. It encompasses a period in the history of Siena that starts in c. 1380 with the political turmoil that followed the fall of the government of the Nine in 1355, and ends in c. 1480, around the time of Pandolfo Petrucci’s exile from the city. A

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37

Hudson, Hugh. "Paolo Uccello : the life and work of an Italian Renaissance artist /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00002997.

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38

Kim, Mina. "Pan Tianshou (1897-1971): Rediscovering Traditional Chinese Painting in the Twentieth Century." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469004754.

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39

Rachele, Cara Paul. "Building Through the Paper: Disegno and the Architectural Copybook in the Italian Renaissance." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467183.

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The dissertation looks at architectural theory in early modern Italy through a history of its drawings. It examines a group of early-sixteenth-century drawing books, made in and around Rome, that comprised reproductive drawings based on circulating drawing exemplars from the late fifteenth century. The drawing books are identified as study tools made by artisans who aspired to the practice of architecture. The study illuminates the broader shift toward drawing as the primary means of architectural design. The first chapter contends that the distinctive drawing practices of architecture arose f

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40

Rebichon, Noelle-Christine. "Les hommes illustres dans les peintures murales des trecento et quattrocento en italie : creation et adaptation d'une iconographie inspiree de sources litteraires du moyen age francais." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20138.

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Le groupe chevaleresque des Neuf Preux, apparu dans le roman des Vœux du Paon de Jacques de Longuyon vers 1312, est rapidement mis en images à travers de nombreuses techniques artistiques, et connaît un succès grandissant au cours des XIVe et XVe siècles, dans le Saint Empire romain germanique, le royaume de France, atteignant également la Catalogne et l'Italie. Simultanément, cette dernière redécouvre son glorieux passé grâce au genre biographique des Vies repris et renouvelé par Pétrarque ; la Rome antique se révèle pourvoyeuse de valeurs morales et politiques, et davantage encore d'exempla,

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41

Cleave, Claire Van. "Luca Signorelli as a draughtsman." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307432.

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42

Frady, Lisa Y. "Constructing social identity in Renaissance Florence: Botticelli's "Portrait of a Lady (Smeralda Brandini)"." Thesis, The University of Arizona, 2001. http://hdl.handle.net/10150/291426.

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Botticelli's Portrait of a Lady (Smeralda Brandini ) (c. 1471) is representative of a largely uninvestigated tendency in Italian Renaissance portraiture to depict female sitters without sumptuous clothing, jewelry, and heraldic devices. Traditionally, these visual cues had been used to construct the elevated social identity of portrait sitters. This study scrutinizes a work within a neglected portion of Botticelli's oeuvre, examining the ways in which its modest, and somewhat ambiguous, visual cues also construct its sitter's elevated social identity, while simultaneously protecting it. This

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43

Wright, Jarrell D. "Dancing before the Lord| Renaissance ludics and incarnational discourse." Thesis, University of Pittsburgh, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3725605.

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<p> Play is a manifestation of overflowing excess. When applied to the study of discourse, this bounty can be understood in terms of figurativeness and depth. If “degree-zero” discourse is the almost entirely unfigured language of an instruction manual, then verse lies near the other extreme: highly figured and elaborate language open to rich interpretive possibilities. I posit a further pole yet on this continuum: the hyperabundant texts of the Renaissance, when ludics were at a height partially quashed by the Enlightenment preference for the plain style. These ludic texts are not

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BURI, MAUREEN E. "CRIMES OF PASSION: RAPE AND ABDUCTION IN FLEMISH MYTHOLOGICAL PAINTING, 1600-1650." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179770118.

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Taner, Melis. ""Caught in a Whirlwind:" Painting in Baghdad in the Late Sixteenth-Early Seventeenth Centuries." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493409.

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Throughout the sixteenth and seventeenth centuries, the province of Baghdad changed hands between the Aq Qoyunlu Turkmen tribal confederation, the Safavids and the Ottomans. From the last decade of the sixteenth to the first few years of the seventeenth centuries, there was a florescence of art production in Baghdad, at a time when the province was under Ottoman rule. This dissertation focuses on a period of rivalry and exchange between the Sunni Ottoman and the Shiʿite Safavid dynasties in the late-sixteenth and early-seventeenth centuries and elucidates the appearance and disappearance of a

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46

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

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Zhu, Yanfei. "Transnational Canon Formation: The Rediscovery of Ming Yimin Ink Painting in Modern China, 1900-1949." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376651747.

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48

Phelps, Sharon. "Agnes Martin : painting as making and its relation to contemporary practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12401/.

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Can nuances of surface – by drawing the viewer close – offer contemplative experience, and enable art-making methods to be better understood? I investigate Agnes Martin’s methods, which are available to those looking carefully at her paintings, focusing on the late 1950s and early 60s. Her constructions of materials found near her New York studio have received little critical attention in existing writing, despite their pivotal role in the development of her grid paintings. I re-enacted some of her methods, and adopted some of the elements that I observed in her artworks from this period, in o

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Whearty, Lauren Ann. "Making Space: Language, Painting, Poem." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1307394266.

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Moloney, Donal. "Slippages between the picture plane and the painting surface : an analysis, through my paintings, of specular highlights, proximal spaces and the Lacanian gaze." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/12069/.

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Abstract:

The aim of this practice-based research project is to examine how specular highlights and proximal spaces, when perceived through the Lacanian gaze, might confound our perception of Cartesian perspectivalism in representational painting. I will analyse and question such a combination of specific visual characteristics identified within three of my paintings and related theories of looking. Specifically, these include Hal Foster’s (1996: 138) reading of the ways in which the Lacanian ‘gaze’ disrupts Cartesian perspectivalism, Norman Bryson’s (1990: 71, 79) writing on the reversal of the ‘Albert

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