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Norman, Natasha. "Further fictions in print." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11652.
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Includes bibliographical references (p. 36-40).Further Fictions mediates a particular visual system - that of the screen. I have tried to unravel and grant materiality to this contemporary virtual coding of images using a process of translation: by evoking the inherent nature of the cinematic image in the medium of print.We live in an analogue reality. There is always a shift between an idea and its translation into a model, between the photograph and the reality of the event it references, between the drawing on a matrix and the print of that drawing on paper. In this project I have set myself the task of the translator by grappling with the elements of an image that defy translation from one medium to another.
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Nash, Elizabeth R. "Edo print art and its Western interpretations." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1891.
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Thesis (M.A.) -- University of Maryland, College Park, 2004.Thesis research directed by: Dept. of Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Meier, Lori T., Huili Hong, Millie P. Robinson, and Edward J. Dwyer. "Encouraging Awareness of Environment through Art and Print." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3326.
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Cameron, Erin Marie. "The Body in Print." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343775047.
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Frederick, Amy Reed. "Rembrandt's Etched Sketches and Seventeenth-Century Print Culture." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1390500621.
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Elek, Jennifer K. "Easy Does It: How the Organization of Print Advertisements Influences Product Evaluations." Ohio : Ohio University, 2010. http://www.ohiolink.edu/etd/view.cgi?ohiou1260816711.
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Owens, Eileen Grace. "VISUALIZING MASCULINITY: MEN, FAMILY, AND COUNTRY IN NINETEENTH-CENTURY FRENCH PRINT CULTURE." Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/385190.
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Art HistoryM.A.
Focusing on satirical prints from illustrated newspapers, this thesis examines nineteenth-century French notions of masculinity in a culture that linked its reputation for success to the productivity of its male citizens. I will focus on man’s connection to marriage and family life, as these institutions were so closely connected to perceptions of masculinity. Specifically, I look at portrayals of the cuckold and the bachelor—tropes of male identity that deviated from the ideal notions of the French man—and how printed images reflected, commented on, and shaped the ways in which conventional French masculinity was imagined. Examining these lithographs in light of specific social and political shifts, including changing marriage and divorce laws, the rising feminist movement, and the loss of the Franco-Prussian war, will ground my project historically. Popular lithographic prints, from the 1840s to the early 1900s, remarked not only on masculinity itself—the ways in which men should act and look—but also on the ways in which any departures from the norm threatened the French family and nation. Although medical journals and etiquette manuals expounded on the ‘natural’ qualities of men, satirical cartoons that were most often published weekly, were immediately pertinent in their commentary. Using prints to decode these ever-prevalent issues of masculinity, my project makes clear why representations and notions of certain types of masculinity were so alarming to French audiences. Although much of the scholarship around nineteenth-century French lithography deals with the censorship issues and political implications of the illustrated newspapers, I focus instead on the social ramifications of such images. I emphasize the distinctive nature of such prints—the audience, the circulation, and the cultural impact of printed images themselves. Looking to both art and social historical texts, I concentrate on the everyday realm of printed images, and what it meant for Parisian men and women to be surrounded by such tropes. My thesis connects the growing concerns over family and marriage to issues of failed masculinity and the ways in which they were addressed in the print culture across the century. It explores how these satirical cartoons provided a humorous, yet urgent, visual attempt to illuminate the tricky and conflicting expectations of French men in the nineteenth century.
Temple University--Theses
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Scalfi, Eghenter Anna. "Organization and the work of art." Thesis, University of Essex, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654535.
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The process of constructing the research, begun at university and continued in public spaces and then in artistic institutional spaces, observes the boundary and modulates the form in which to translate the conceptual intuition between the ambit dedicated to art and the outside, between the symbolic dimension and the real one. The constructional artefacts produced allow for the flowing of various levels of consistency of the work, ranging from the immaterial to extreme concrete expression, considering as the supporting texture of the research itself the negotiation of permits, the translation between the ambits and the conversion of the languages. Within the prospect of a design that is never closed, where the result of a phase in turn becomes useful material for the next experimental passages, the exhibition phase is not considered as the crystallization of the work but rather as a privileged experimental opportunity. Artistic practice, therefore, is applied as a tool of experimental research that acquires, as a necessary and decisive component, the identification of the organizational nature of the context on which it acts. The artistic frame exceptionally allows to develop an experimental period within the spaces of everyday life, acting according to its own operational rules. In response to the analysis of the context, an "organizational analogue" is created and presented as a work of art. The "Analogous" is not a representation or a performance, but rather the assumption, via linguistic mimesis, of a pre-extant object to the form of which a change is made. The product is evaluated on the border of the language through which it interacts, allowing the components of the environment to negotiate its pertinence. The notion of "frame" allows one to imagine the localization of the dynamic border between the ambits.
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Geurts, James, and james@jamesgeurts com. "BLUE-PRINT: Human/Hydrokinetic Drawing Projects." RMIT University. Art, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100326.114926.
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Blue-Print: Human/Hydrokinetic Drawing Projects, is based on an expanded field of drawing practice, centering on a series of spatial and time-based projects at various bodies of water around the world. Blue-Print drawing projects set out to describe a language that articulates a human/hydrokinetic relationship. This expanded drawing practice emerges through diverse forms of installation, video, land-art, kinetic sculpture, light works, sensor-drawing, photography, living-monochromes, sound, durational events and research. This expanded drawing practice is based on an inquiry into the relationships between land/place and thought/movement. It addresses the processes through which landscape, and its forms, are internalised in conceptual space, and the ways in which conceptual frameworks are projected outwards onto the landscape. The work is informed by, and contributes to, the paradigms of eco-poetics and psychogeography. Both of these paradigms engage with the relationships between the physical world and the human experience of space and time. Combining the two through my practice creates a view of the environment and the human as two interdependent circulatory systems. Bodies of water/weather cycles/conceptual systems/the human as a water-body, these are subjects in my work as much as the sense of circulation comes through methodologically and aesthetically in the actual making and form of my expanded drawings. This approach to art practice uses process in a particular way, that is as a primary means of making an artwork, although it could be said that such an approach is also an anti-method in as much as the 'method' is variable - it is continually invented given the situation/circumstances. What is consistent is a dynamic of proliferation; the work spreads out in different directions and in unpredictable ways. Here process is not for 'outcome' but is the work itself. My overall practice has taken drawing as the base from which to work. My works are combinational and connective. They are based on a type of research that is deliberate, intense and composite, and which activates the spaces of transformation that exist in the movement between landscape and thought, the circulation between environment and human. This investigation uses human engagement with moving bodies of water to generate drawings in a variety of ways, according to the specifics of each hydrokinetic system. This interest in human/hydrokinetic relationships stems from my experiences as a surfer and surfing is one of the means with which I create drawing works within this investigation. I am interested in the unique and dynamic complexity of hydrokinetics in each of the chosen locations and how this complexity of movement influences the drawing/ recording process. I am interested in generating real-time drawing works from the particular intersection of: place; time; human/hydrokinetic activity; ecological forces at work and the specific ways in which these variables all affect the resultant form of abstraction. Further to this I am interested in exploring the capacity of abstraction to access, and refer to, psychological space more readily than naturalistic renderings of the landscape.
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Atkinson, Andrew. "The creation of digital photographic fine art print through the Woodburytype model." Thesis, University of the West of England, Bristol, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418444.
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Jenkins, Amber Rose. "From pen to print : Virginia Woolf, materiality and the art of writing." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/113424/.
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This thesis interrogates the relationship between the material conditions of Virginia Woolf’s writing practices and her work as a printer and publisher at the Hogarth Press. While the role played by the Press in the intellectual and literary innovations of modernism has been well-documented, less attention has been paid to its influence upon Woolf’s own literary experimentalism. By examining its effect on the material and visual aspects of her compositional processes, from the manuscript drafts to the physical construction of her printed works, this thesis explores how her involvement in the crafting of her publications (including practices of writing, editing, printing and binding) enabled her to situate her fictions alongside the visual and material innovations of modernism. Underpinned by an engagement with Bloomsbury epistemology and aesthetics, it aims to contribute to understandings of Woolf’s textual practices in the context of early twentieth-century visual and material cultures. The thesis examines several of Woolf’s texts printed between 1917, the year the Hogarth Press was established, and 1931, the year in which The Waves, often considered her most experimental work, was published. By drawing on the field of print culture and the materialist turn in Woolf scholarship, it, firstly, considers Woolf’s early short stories and how these enable her to challenge the distinction between visual and verbal forms of representation. Chapter two examines the extent to which her short stories, as well as her embodied experience of printing them, shaped the form of Jacob’s Room. The manuscript version of Mrs Dalloway is the focus of chapter three, and it suggests that the novel can be considered a palimpsest in the way that earlier versions of text reverberate in the published edition. This chapter also offers new ways of thinking about Woolf’s conceptualisation of textuality as fluid rather than fixed. Woolf’s use of colour in her writing is given particular attention in the final two chapters of the thesis. Chapters on To the Lighthouse and The Waves reveal how these visual signifiers enable her to weave a feminist-materialist discourse into the textures of her work. In establishing a connection between Woolf’s literary concerns with materiality and her feminist politics, this thesis argues that her use of objects, colours and forms work to reinsert the forgotten histories of women in the pages of her published texts.
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Bennion, Lyndsay M. "THE FUNCTIONAL PRINT WITHIN THE PRINT MARKET OF THE LATE FIFTEENTH AND EARLY SIXTEENTH CENTURY IN NORTHERN EUROPE AND ITALY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162659677.
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Raley, Gabrielle. "Between art and advertising the production, organization, and culture of commercial art /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023816031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Aberbach, Katherine. "Hardly a dying art the flourishing of print news in literary journalism books /." CONNECT TO ELECTRONIC THESIS, 2007. http://dspace.wrlc.org/handle/1961/4233.
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McCrea, Genevieve Rosalind Art College of Fine Arts UNSW. "Self organization in nature." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43573.
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Sand is an appropriate material to embody and make visible the impulses which may pass through the moving hand and also permeate the universe. Its ability to absorb impressions means it can take on the full range of material states, solid, liquid or vapour, and allows it to speak with the rhythmic language the whole of nature itself uses. Developing a language of forms which more closely speaks this rhythmic language of nature requires an intimate knowledge of the processes of nature. Sand experiments undertaken show the formation a rich array of dazzling patterns. Chaos theory explains this self organizing capacity, and reveals the depth of interdependence of systems within nature. The aspect of self-similarity is also of central significance in appreciating how nature looks and function, and thus how it might be imaged. Drawings from nature were developed using sand as a parameter, starting with the single grain and translating the dynamism of moving sand into mark. Field trips involved looking for waves and repeated lines in nature, and observing how marks form in nature. Chaos theory provides a ground to bring together different spheres of knowledge ?? science, theology and art. It reveals the peculiarities of a material??s behaviour as being of critical importance in the mechanism of evolution. It also provides fresh insight into an incarnational Christian theological perspective, and the relational dynamic within the Trinity. The unity of far and near is also reflected in chaos theory in the self similarity of images. Romantic artists Turner and Van Gogh both engage in the search for a visual language of transcendence through nature using the use of the themes of chaos and order, with an emphasis on physicality and movement. Contemporary artists Goldsworthy, Blanchflower and Kirkeby ground their work in knowledge of material. Changes from solid and rigid to shifting and open show in the development of my work. The immediacy and dynamism of mark making in drawing and staining, ripping and sanding in painting gives process and materiality greater weight. The significance of relationality has reinforced the integrity of horizontal and vertical as expressed in nature and allowed for flexible repositioning of the image within a grid
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Gallinot, Elise. "A report on an internship producing KID SmART's ART JAM." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/aa_rpts/15.
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From fall 2003 to spring 2004 I served as an intern producing ART JAM, a free, interactive children's arts festival for KID smART. KID smART is a nonprofit 501 c.3. organization created to teach positive life skills to underserved children through hands-on arts activities in New Orleans, LA. ART JAM is an interactive children's arts festival presented by KID smART. The festival serves as a major public relations campaign and serves to advocate that the arts are important in the lives of all children. This report is broken into 5 chapters and details the activity of producing ART JAM 2004. Chapter 1 is an introduction KID smART and ART JAM including its mission, history, organizational structure, funding, and programs. Chapter 2 is a description of my internship including tasks and responsibilities. Chapter 3 is an exploration of organizational issues including strengths, weaknesses, threats and opportunities. Research and explanation of "Best Practices" along with recommendations will be discussed in Chapter 4. Chapter 5 analyzes the short and long term effects of the internship on KID smART and ART JAM.
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Hoeschen, Jessica. "THE ENGLISH REFORMATION IN IMAGE AND PRINT: CULTURAL CONTINUITY, DISRUPTIONS, AND COMMUNICATIONS IN TUDOR ART." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2244.
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In the sixteenth century, Martin Luther s Protestant Reformation generated multiple reform movements and political transformations in Europe. Within this general period of reform, political and cultural changes from the Tudor era (1485-1603) created a separate English Reformation. The English Reformation evolved from the different agendas of the early Tudor monarchs and occurred in two distinct waves: an initial, more moderate Henrician Reformation and a later, more complete Edwardian Reformation. Henry VIII and Edward VI s attempts to redefine monarchy through a new State and Church identity drove English church reform during this period, giving these religious shifts distinct political roots. Cultural artifacts were prominent indicators of these differing political goals, and Henry VIII and Edward VI adjusted and removed images and texts according to their propaganda methods. These royal manipulations of culture are well-documented, but historians have overlooked important components in the communication process. Lay responses to imagery changes ranging from compliance to rebellion demonstrate the complex relationship of images, monarchy, and reform. Examining images function as propaganda with questions of intent, reception, and comprehension in royal communication is imperative for assessing the impact of royal messages on Tudor culture. Analyzing Tudor art as a form of political communication that disseminated idealized political representation reveals a strong visual discourse between the King and the English people. Images held key powers within royal discourse to create and disseminate propaganda of a kingship.M.A.
Department of History
Arts and Humanities
History MA
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Johnson, Chloe. "Presenting the Pre-Raphaelites: Pre-Raphaelite Art in the Broadcast and Print Media 1942-1997." Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486995.
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Through the twentieth century the print and broadcast media have become major means of communication and the Pre-Raphaelites have received a significant amount of coverage, both positive and negative. In the early years of the twentie~h century the Pre-Raphaelites were largely forgotten. The publication of William Gaunt's The Pre-Raphaelite Tragedy in 1942 and the centenary of the formation of the Pre-Raphaelite Brotherhood in 1947-8 led to a resurgence of interest in the group. A series of exhibitions were reviewed in the major newspapers and journals and the artists were the subject of a number of talks· on the Third Programme and featured in the channel's ambitious series The Ideas and Beliefs ofthe Victorians (1948). Coverage of a group of monographic exhibitions through the 1960s and 70s brought . new academic research to public attention, while Ken Russell's Omnibus film 'Dante's Inferno' (BBC 2, 1967) and The Love School, a six-part costume drama (BBC 2, 1975), made the Pre-Raphaelites popular with a broad audience. In 1984 a major Tate exhibition established the group as a significant British avantgarde movement and through the 1990s it became seen as a precursor to developments in European art. The media has reflected these advances and been a platform for the creative reconstruction of the Pre-Raphaelite image. Pre-Raphaelitism has featured in series such as Christopher Wood's Painters to the People (Channel 4, 1990 and Andrew GraJ1am-Dixon's survey A History ofBritish Art (BBC 1, 1995). It has also been the subject ofradio plays such as John Purser's drama Parrots and Owls (Radio 3, 1994) As we move into the digital age and the internet becomes a powerful tool, it is an important moment to assess the impact the media has had on perceptions of the PreRaphaelites and consider the implications this has for future research.
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Porter, Austin. "Paper bullets: the Office Of War Information and American World War II print propaganda." Thesis, Boston University, 2013. https://hdl.handle.net/2144/34333.
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Thesis (Ph.D.)--Boston UniversityThis dissertation analyzes American World War II propaganda generated by the Office of War Information (OWI), the nation's primary propaganda agency from 1942 to 1945. The visual rhetoric of printed OWI propaganda, including posters, brochures, newspaper graphics, and magazine illustrations, demonstrated affinities with advertising and modern art and exhibited an increasingly conservative tone as the war progressed. While politically progressive bureaucrats initially molded the OWI's graphic agenda, research reveals how politicians suppressed graphics that displayed the war's violence, racial integration, and progressive gender roles in favor of images resembling commercial advertisements. To articulate the manner in which issues of American self-representation evolved during the war, this study examines the graphic work of artists and designers such as Charles Alston, Thomas Hart Benton, Charles Coiner, Ben Shahn, and Norman Rockwell. The investigation unfolds across four chapters. The first chapter examines the institutional origins of American World War II propaganda by exploring the shifting content of New Deal promotional efforts during the 1930s and early 1940s. This analysis is critical, as government agencies used propaganda not only to support economic recovery during the Great Depression, but also to prepare Americans for war before the Japanese attacked Pearl Harbor. The second chapter analyzes the ways OWI increasingly suppressed depictions of violence as the war progressed. While the agency distributed traumatic images of Axis hostility early in the war, such work was later deemed "too aggressive" by former advertising executives turned federal bureaucrats who preferred more friendly, appealing graphics. The third chapter focuses on propaganda intended for African Americans, whose support for the war was divided due to racist Jim Crow legislation. This section analyzes OWI efforts to address the nation's largest racial minority through posters, brochures, and newspaper graphics. The fourth chapter examines the OWI's efforts to influence middle-class white women, a demographic of consumers whose influence grew as the war progressed. This includes an examination of the OWI's role in modifying the "Rosie the Riveter" mythology in contemporary advertising to encourage women to pursue jobs outside of factory work.
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Tsoumis, Karine. "Giovanni Battista Cavalieri's Ecclesiae militantis triumphi : Jesuits, martyrs, print, and the counter-reformation." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83842.
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Five hundred years of Christian martyrdom are represented in the Ecclesiae militantis triumphi (1583). Engraved by Giovanni Battista Cavalieri, the series that was bound into a book reproduces a fresco cycle in the church of San Stefano Rotondo in Rome. While the church belonged to the Jesuit German-Hungarian College, the book accompanied priests in their proselytizing mission in Northern Europe. This thesis will look at the function of the book in relation to various audiences, in different viewing contexts. Analyzed primarily in relation to the intended Jesuit audience as an object of devotion, the book will also be inserted within the Early Christian revival promoted by Gregory XIII (1572-1585). Finally, it will be looked at in relation to an audience composed of individuals interested in factual knowledge about Early Christian history and in the martyr as a historical figure. A general endeavor of the thesis is to situate the Ecclesiae militantis triumphi in relation to late sixteen-century representations of martyrdom, both Catholic and Protestant, as well as in relation to other contemporary Roman printed works.
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Kellogg, Smith Martha. "Viewer tagging in art museums: Comparisons to concepts and vocabularies of art museum visitors." dLIST, 2006. http://hdl.handle.net/10150/105154.
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As one important experiment in the social or user-generated classification of online cultural heritage resources collections, art museums are leading the effort to elicit keyword descriptions of artwork images from online museum visitors. The motivations for having online viewers - presumably largely non-art-specialists - describe art images are (a) to generate keywords for image and object records in museum information retrieval systems in a cost-effective way and (b) to engage online visitors with the artworks and with each other by inviting visitors to express themselves and share their descriptions of artworks. This paper explores the question of how effective non-specialist art keyworders can be in capturing ("tagging") potentially useful concepts and terms for use in art information retrieval systems. To do this, the paper compares evidence from art museum visitor studies which describe how non-specialist art viewers react to and describe artworks and use museum-supplied information in their initial encounters with artworks. A theoretical model of artwork interpretation derived from art museum visitor research provides a framework with which to examine both the activity and the products of artwork tagging for image and information retrieval.
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Miller, Paige. "The Art of Discord: Organization and Planning Among Internet Trolls." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2368.
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Within recent years, there has been a significant increase in popular commentary on internet trolls and what they mean for online interactions. Significant attention is often paid to framing trolls as individual, pathological, and atypical. While there is much one-sided dialogue occurring in the media, however, the literature on internet trolling remains scarce. This exploratory study contributes to the developing literature by addressing internet trolls directly. Drawing on interviews with a self-identified troll and content analysis, this thesis aims to understand how trolls operate, interact, and make meaning while highlighting the role of identity and emotions. This study finds that internet trolls are highly organized and social, in direct contradiction to the prevailing media narrative.
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Link, Anne-Marie Luise. "Papierkulture : the new public, the print market and the art press in late eighteenth century Germany." Thesis, Birkbeck (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260932.
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The thesis investigates some elements of the eighteenth century German public sphere concerned with the visual arts. It considers the periodical press (with the art journal Miscellaneen artistischen Inhalts [1779-1808] providing a particular focus), the new bourgeois public for this press (the subject of Part I), and what is argued was the most crucial mediator of the visual to the new public, the engraved print, particularly the English print. The thesis locates these issues into the larger project of eighteenth century German bourgeois society, that is, the creation of a cultured class, with the 'man of taste' at its core. Part II considers the periodical press in general, and the art journal in particular, in relation to the new reading public and to the role they played in mediating/constructing information about the print as an art object. The role of print collecting handbooks in creating a discourse about the print as art and as equal to painting is similarly considered. The idea of Nachr.ichtenverkehr (information exchange) as part of Warenverkehr (commodity exchange) is discussed in terms of the art journal's use of artist's biography and its role in the print market. Part III focusses on the fashion (Mode) for the English print in Germany and explores, through the use of the case study, the issues of review writing and the male reader/viewer in regard to the subject matter, form, and medium of the English print (and some of its German imitators) . It is argued that the English print, because of its strong market presence and its representation of what was believed to be a positive English middle class model, had a relevance to Germany's new art collecting public. The specific examples of the stippled 'fancy' picture, the 'Grecian' pictures of Arigelica Kauffmann and the engraved modern history piece of West's Death of General Wolfe, are discussed respectively in terms of gendered viewing, bourgeois notions of virtue and the 'feeling' viewer. The final section points out that the development of a public taste, as formed by the press and the print market, was not without its opponents. The use of the public's press by scholars and academicians is discussed in terms of their project as self-appointed leaders in the creation of a tasteful society, and their own agenda of instituting measurable standards based on their interpretation of the antique, art theory and a metahistorical notion of 'art'.
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Golden, Paula. "Seasons." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1983.
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A sense of place and time has been the unconscious focus of my adult life. While living in Hawaii I often searched for ancient rock carving sites. These art forms have the ability to convey the mystery, magic and history of previous times. I use human figures, beads and various textiles with similarities to these petroglyphs as a powerful metaphor for my search to find a place that is home
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Borey, Erica. "Reichenbachia, Imperial Edition: Rediscovering Frederick Sander’s Late-Victorian Masterpiece of Botanical Art." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3292.
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This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.
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Kemble, Sally Savage. "Printmaking from 1400 to 1700 with a catalogue of the print collection at the Dallas Museum of Art /." Ann Arbor (Mich.) : University microfilms international, 1986. http://catalogue.bnf.fr/ark:/12148/cb355363971.
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Spickard, Kristen R. "Patterns." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343703458.
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Brod, Heather Christine. "Colorist art, contemporary Russian art, and Neue Slowenische Kunst in the collection of Neil K. Rector." Connect to resource, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210265694.
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Murray, Philippa, and pmurray@swin edu au. "The Floating World - An investigation into illustrative and decorative art practices and theory in print media and animation." RMIT University. Arts and Culture, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080506.143949.
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Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.
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Cole, Collin. "John N. Muafangejo, 1943-1987 : a perspective on his lino-cuts with special reference to the University of Bophuthatswana Print Collection." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002194.
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By way of an analysis of the lino-cuts executed by Muafangejo, firstly elements and influences that are evident in terms associated with his works, will be traced, for example 'primitive' and 'traditional' elements. Secondly, the characteristics that are particular to this artist's work will be defined. It is believed that by using this avenue of approach, a clearer understanding of the artist's traditional world and possibly the stylistic placement of the artist can be attained. However, to rely only on historical and cultural influences to give a perspective of his work, will not be sufficient. It will only highlight a portion of the evidence needed to fully understand his work. (From the introduction).
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Dietrich, Anne. "Art-mnésique : refaire surface." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H302.
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Qu'est-ce qui refait surface dans l'image ? Comment est-ce que cela refait surface ? Ces interrogations prennent leur origine dans des réalisations plastiques principalement centrées autour de problématiques graphiques, organisées en deux ensembles : l'image-trace correspondant à des dessins résultant d'empreintes et de dépôts, et l'image-palimpseste s'ordonnant par strates au sein de surfaces bidimensionnelles ou d'installations. L'objectif des recherches menées dans cette thèse est de saisir comment l'image peut constituer une métaphore du processus mnésique, et s'inscrire entre mémoire et oubli. L'image-trace semble pouvoir évoquer le fonctionnement de la mémoire par sa qualité d'empreinte qui se pose comme une trace mnésique précaire, et qui peut être le réceptacle de particules de matière-mémoire déposée. L'image-palimpseste donne à voir par transparence un feuilletage faisant écho aux différentes étapes de la poïétique d'une œuvre hétérochronique. Tantôt le passé est renvoyé à la profondeur opaque et aux plis de l'image, tantôt il est en surface dans une mosaïque temporelle éclatée, formant une mémoire composite à partir de fragments qui refont surface. Le retour à la surface se manifeste également dans des œuvres actualisant la résurgence répétée d'une figure survivante. Elle est une forme errante dans une achronie, tel un écho de mémoire teinté d'oubli. Finalement, dans des dispositifs entropiques, l'oubli lui-même devient, à un second niveau, espace de projection pour une nouvelle mémoire, provisoire, construite à partir de la perte : la mémoire de l'oubliWhat resurfaces in the image? How does if resurface? These questions originate in artworks mainly centered on graphic characteristics and organized into two groups: the trace-image, which corresponds to drawings resulting from prints and sediments, and the palimpsest-image, which is stratified on two-dimensional surfaces or in installations. The objective of this thesis is to understand how the image can be a metaphor for the mnestic process, and how it is set between memory and oblivion. The trace-image seems to evoke the functioning of memory by its print status, presenting itself as a precarious memory trace, which may be the receptacle of sedimented memory-material particles. The palimpsest-image exposes a foliation that echoes the different stages of the creation process of a heterochronic work. The past is sometimes buried in the impenetrable depths and in the folds of the image, sometimes displayed on the surface in an exploded temporal mosaic, forming a composite memory from fragments, which resurface. The return to the surface is also apparent in works actualizing the repeated resurgence of a surviving figure. It is a wandering, achronic form, like an echo of memory tinged with oblivion. Finally, in entropie works, oblivion itself, on a secondary level, becomes a projection space for a new temporary memory, constructed from Joss: the memory of oblivion
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Gattringer, Christa. "17th-Century Antwerp artists' studio practice : Rubens and his circle : an interdisciplinary approach in technical art history." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5135/.
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Early 17th-century Antwerp, despite political and religious troubles, was a thriving European art centre and home of such renowned artists as Peter Paul Rubens and other painters of his circle, like Jan Brueghel I, Frans Snyders, Anthony van Dyck and Hendrick van Balen. This interdisciplinary thesis in Technical Art History, after a general introduction to this specific art scene, looks at how specific aspects of their studio practice, such as collaborations within and outside their studios or the many copies and versions of their paintings, found manifestation in their works but also in their theoretical concepts. For this an in-depth study and examination of c.20 paintings from mainly Scottish collections (National Galleries of Scotland Edinburgh, Glasgow Museums, Hunterian Art Gallery of the University of Glasgow, Talbot Rice Gallery of the University of Edinburgh, Hopetoun House South Queensferry) was conducted, using detailed photography, multispectral imaging, tracings, dendrochronology, polarised light microscopy and SEM- EDX-analysis of paint samples in cross-sections. The technical examination and analysis, informed by art historical research, significantly aided the answering of questions regarding these paintings’ materials and techniques, as well as they helped to authenticate sometimes contested authorship and date. Four main chapters discuss Frans Snyders’ studio practice focussing on reappearing motifs, Rubens’ tronies, Jan Brueghel’s minute staffage figures in collaborative works, as well as Rubens’ and Brueghel’s painting Nature Adorned by the Graces. An own chapter critically discusses the test results of the application of Stable Lead Isotope Analysis on paint samples, which were carried out at the Scottish Universities Environmental Research Centre (SUERC).
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Young, Tom. "Art in India's 'Age of Reform' : amateurs, print culture, and the transformation of the East India Company, c.1813-1858." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/285900.
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Two images of British India persist in the modern imagination: first, an eighteenth-century world of incipient multiculturalism, of sexual adventure amidst the hazy smoke of hookah pipes; and second, the grandiose imperialism of the Victorian Raj, its vast public buildings and stiff upper lip. No art historian has focused on the intervening decades, however, or considered how the earlier period transitioned into the later. In contrast, Art in India's 'Age of Reform' sets out to develop a distinct historical identity for the decades between the Charter Act of 1813 and the 1858 Government of India Act, arguing that the art produced during this period was implicated in the political process by which the conquests of a trading venture were legislated and 'reformed' to become the colonial possessions of the British Nation. Over two parts, each comprised of two chapters, two overlooked media are connected to 'reforms' that have traditionally been understood as atrophying artistic production in the subcontinent. Part I relates amateur practice to the reform of the Company's civil establishment, using an extensive archive associated with the celebrated amateur Sir Charles D'Oyly (1781-1845) and an art society that he established called the Behar School of Athens (est.1824). It argues that rather than citing the Company's increasing bureaucratisation as the cause of a decline in fine art patronage, it is crucial instead to recognise how amateur practice shaped this bureaucracy's collective identity and ethos. Part II connects the production and consumption of illustrated print culture to the demographic shifts that occurred as a result of the repeal of the Company's monopolistic privileges in 1813 and 1833, focusing specifically on several costume albums published by artists such as John Gantz (1772-1853) and Colesworthy Grant (1813-1880). In doing so, it reveals how print culture provided cultural capital to a transnational middle class developing across the early-Victorian Empire of free trade. Throughout each chapter, the gradual undermining of the East India Company's sovereignty by a centralising British State is framed as a prerequisite to the emergence of the nation-state as the fundamental category of modern social and political organisation. Art in India's 'Age of Reform' therefore seeks not only to uncover the work and biographies of several unstudied artists in nineteenth-century India, but reveals the significance of this overlooked art history to both the development of the modern British State, and the consequent demise of alternative forms of political corporation.
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Whitney, Megan L. "La Soubrette Confidente, Deciphering Love Through Difference." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/594384.
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La Soubrette Confidente is an eighteenth-century French engraving by Gérard Vidal after a gouache drawing by Nicolas Lavreince. The image depicts an interior where notions of lady-like behavior are emphasized–the acquisition of knowledge through the writing and reading of letters and the discussion of personal matters with trusted confidants. What is most intriguing about this print are not the actions of the women, their fashion, or the furniture, but how all of these elements are affected by a simple change in decoration: the addition of a painting of a reclining nude on the wall. The difference between the original and reproduction incites a series of questions that I will explore: how has the print and the two artists been considered historically; why were the changes were made from the gouache to the print; how did these changes affect the viewer's interpretation of the image, and finally how are the changes made by Vidal are related to the social and historical context within which they were made.
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Benevičiūtė, Donata. "Paukščio akimis." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100928_084856-53244.
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Bakalauro darbą sudaro penkių darbų skaitmeninės spaudos kolekcija pavadinimu ,,Paukščio akimis“, šis darbas, tai tarsi dailės terapija sau, kuriame naudojant faktūrų ir linijų ritmikas, Adobe Photoshop CS4 programa, buvo kurtos daugiasluoksnės kompozicijos, kuriomis buvo norima atskleisti vidinės būsenos istoriją. Dailės terapijos tikslas - analizuoti savo meno kūrinius ir padėti sau ugdyti asmenybę. Yra manoma, kad kūrėjas norėdamas mokyti kurti kitus, visų pirma turi gerai pažinoti save.
Aprašomajame darbe, taikant teorinę analizę darbams pagrįsti, buvo ieškota panašumų kitų autorių darbuose. Kadangi kolekcijoje „Paukščio akimis“ daug simbolių, tai buvo remtasi simbolisto M. K. Čiurlionio ir garsios simbolistės, siurrealistės ir realistės Fridos Kahlo kūryba. Frida tapė savo intymias gyvenimo detales, taip tarsi taikydama dailės terapiją sau.
Darbams atlikti buvo pasirinkta skaitmeninės spaudos technika, prieš tai pasidomint kokie lietuvių menininkai dirba šia technika. Išanalizavus lietuvių menininkų R. Dichavičiaus ir K. Grigaliūno darbus, bei kuriant visas kompozicijas, remtasi šių autorių plastiniais kompozicijos sprendimais.
Taikant interpretacijos metodą, buvo išanalizuoti kolekcijos darbai ir parengtas pasiūlyms, kaip bakalauro darbo specifiką būtų galima pritaikyti ugdymo procese, nes mokiniams būtina padėti integruotis šiuolaikinėje visuomenėje, kurioje, sparčiai plintant naujausioms medijoms, persipina technologijos ir įvairių meno sričių plastinės išraiškos... [toliau žr. visą tekstą]Bachelor of Arts work consists of the collection of five digital print pieces under the title “From the bird‘s sight”. This work is as if the therapeutic art for oneself in which multi-layer compositions, revealing the history of inner state, were created by the means of factures and the rhythmic of lines, with the help of Adobe Photoshop CS4 programme. The aim of the art therapy is to analyze your own works of art and to help yourself to develop as a personality. It is thought that the creator, willing to teach others how to create art, first of all has to know well himself. In the work described, similarities in different authors’ works have been looked for, while using theoretical analysis for creations to be justified. Since there are plenty of symbols in the collection “From the bird‘s sight”, the reference to creation of the symbolist M.K Ciurlionis and a famous surrealist and realist’s Frida Kahlo works was made. Frida was painting the details of her intimate life in the way, as if she applied the art therapy for herself. Digital print technique was chosen for completing the work, but before this, some investigation about Lithuanian artists, using this technique in their creation, was made. After analyzing the works by Lithuanian artists R. Dichavicius and K. Grigaliunas and while making all the compositions, it was referred to the plastic solutions of the compositions made by these artists. The whole collection of works was analyzed while applying the method of... [to full text]
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Björkwall, Michaela. "Art as an educational tool to improve inner-health within the context of the organization Saturday Art Class in India." Thesis, Malmö universitet, Fakulteten för lärande och samhälle (LS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-33516.
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This study examines how art is used as an educational tool to improve inner-health. The study is conducted in India to gain a cultural perspective different from Sweden. In the study, unstructured qualitative interviews are made mainly with volunteers from the organization Saturday Art Class, but also with the principal at the Sir J. J. Collage of Architecture. The interviews focus on the respondents view on: art as an educational tool, art as a tool to deal with inner-health and the respondent’s view on art and emotions from a cultural perspective. A thematic analyze is applied to understand and structure the collected material and John Dewey’s theory on art, education and experience is used as a theoretical framework when discussing the result. The study discusses what it is about art that makes it improve inner-health and how art, as an educational tool, can help shape both individuals and the society. In relation to the respondent’s experiences, earlier research and Dewey’s theoretical approach, the study identifies three different and co-related perspectives within the art practice that can help art teachers conduct their education for it to benefit inner-health among students, which are: the art practice in itself, reflection through an interactive dialogue and emotional aims. The study also discusses the connection between artistic freedom and democratic values as well as the role of the art teacher during the artistic practice. Lastly, the cultural context in India and SAC is compared to Swedish art education.
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Adams, Alissa Rachel. "The emperor is dead, long live the emperor: Paul Delaroche's portraits of Napoleon and popular print culture." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2431.
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This master's thesis seeks to dispel the myth that nineteenth century painter Paul Delaroche's art was either apolitical or politically conservative. Through an examination of Delaroche's portraits of the late Napoleon I in conjunction with contemporary napoleonic prints, one finds that Delaroche was, indeed, deeply involved with contemporary politics. A close examination of his portraits shows that this involvement manifested itself in support for both the Cult of Napoleon and for the Bonapartist party.
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Tobin, Amanda. "A Solution to “The Woman Question”: Envisioning the Japanese Woman in the Bijin-ga of Japan's Modern Print Designers." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305769350.
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Iacovone, Michael Dax. "Memories We Forget." VCU Scholars Compass, 2005. http://hdl.handle.net/10156/1875.
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Watkins, Catherine Bailey. "Rembrandt's 1654 Life of Christ Prints: Graphic Chiaroscuro, the Northern Print Tradition, and the Question of Series." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1302116377.
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Lee, Ileana C. "Living space." Connect to this title online, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1106598599.
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Singel, Rachel Jeanne. "Embodying nature." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2633.
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My imagery comes from what I see in nature. From a hollow in a tree to a break in the clouds, absence is a recurring motif. These spaces intrigue me, and I begin to wonder where they might lead. The structures becomes one rounded, spreading volume.
By printing on both sides of the paper, two images intertwine: one drawing attention and the other subtly shifting beneath the surface. The work becomes an expression of the intricacies and depth of natural forms. Ultimately, I want to take on the processes of nature and embody them in my own works of art.
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Turpijn, Saskia C. "William Bernard Cooke, George Cooke, and J.M.W. Turner: Business of the Topographical Print Series." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/6073.
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The organization of eighteenth and nineteenth-century British printmaking and publishing was based on economic principles and occurred in the collaborative sphere of the engraver’s studio. Print designers, engravers, printers, and publishers formed a professional network that operated on economic principles, publishing prints that served to generate income for its participants. These ventures faced great challenges in the lengthy and laborious processes of engraving and publishing, and in financing the project for the duration of that time.
This project examines the economic structure of early nineteenth-century prints. Using comprehensive accounting records, it analyzes two well-known topographical print series. The profitable Southern coast by William Bernard Cooke and George Cooke is compared to the financially unsuccessful Tour of Italy by James Hakewill, series that both were partly based on watercolors by J.M.W. Turner.
A well-managed organization and a sound financial framework laid the foundation for a profitable venture. The success of print series hinged on several critical success factors, such as access to sufficient capital, strict cost containment, and optimized print editions.
An examination of the conflict that ended the collaboration between Turner and the engravers Cooke, originating in Turner’s demand for higher design fees, puts the validity of the arguments of both parties in a new light.
The investigation into the work practice of the engravers Cooke and the economic factors that determined the outcome of their labor contributes to a better understanding of the printmakers’ opportunities and challenges at the onset of the modern art market.
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Hardt, Michael. "The art of organization : foundations of a political ontology in Gilles Deleuze and Antonio Negri /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6623.
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Velimirović, Miloš. "From the Hilandar's Chanter's Treasury - Vikentije Monk from the Hilandar Monastery (Novi Sad, Art print, 2003, 236 pages of musical examples) [Rezension]." Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, Leipzig, 2005. https://ul.qucosa.de/id/qucosa%3A15981.
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TOMITA, MIDORI. "Woodcuts 1946-1953 BY Kōsaka Gajin (1877-1953): The Discovery of Children's Art in Japan and German Expressionism." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054232744.
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Garubba, Keith. "Art/Science and a Blended Inquiry." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405436323.
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Soler-Adillon, Joan 1978. "Emergence as self-organization and as generation of novelty: a framework for understanding emergence in the context of interactive art." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/314388.
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The subject of study of this investigation is the concept of emergence and its viability as a driving force for the creation of interactive artwork. Emergence appears in the literature as related to self-organization and novelty. For many authors it is the result of multiple local interactions among agents within a system, which generate phenomena that could not be understood, nor anticipated, through the analysis of the elements and their behaviors in isolation. For others, emergent phenomena are related to fundamental novelty and, thus, to creativity. These two formulations of emergence are reviewed in this thesis in the context of interactive art and communication. The focus of the study is on the interactive works of the artistic field known as Artificial Life Art. After reviewing the foundational concepts and proposing an approach to both emergence and interactivity, an analytical framework is presented in order to assess the presence of emergence in interactive systems, which in turn shall serve as a first step to designing systems that aim at generating interactive emergent behaviors.L’objecte d’estudi d’aquesta tesi és el concepte d’emergència i la seva viabilitat com a força creativa d’obres d’art interactiu. Emergència apareix a la literatura com a concepte relacionat tant amb el concepte d’auto-organització com amb el de novetat. Per a molts autors és el resultat d’una gran multiplicitat d’interaccions locals entre els agents d’un sistema, que generen fenòmens que no podrien entendre’s ni anticipar-se mitjançant l’anàlisi d’aquets agents i dels seus comportaments de manera aïllada. Per altres, els fenòmens emergents estan relacionats amb la idea de novetat fonamental i, per tant, de creativitat. La tesi revisa ambdues formulacions del concepte d’emergència en el context de l’art interactiu i la comunicació. El focus central de l’estudi són les obres d’art interactiu de la disciplina coneguda com Artificial Life Art (art i vida artificial). Després de revisar-ne els conceptes fonamentals i proposar una formulació tant d’emergència com d’interactivitat, es presenta un model d’anàlisi que permet donar compte de la presència de fenòmens emergents dins en els sistemes interactius, i que alhora és un primer pas cap al disseny de sistemes que tenen la intenció de generar comportaments interactius emergents.
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Wilson, Christopher E. "Autonomy-Dependency Paradox in Organization-Public Relationships: A Case Study Analysis of a University Art Museum." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3074.pdf.
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Lieb, Michelle. "The Enduring Image." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1500.
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