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1
Watson, Leonie. "Collecting the self paintings /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070821.122506/index.html.
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Bundgaard, Helle. "An Indian cloth painting and its art worlds : perceptions of Orissan patta paintings." Thesis, SOAS, University of London, 1994. http://eprints.soas.ac.uk/29346/.
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This study examines how a particular kind of Indian painting comes to have value. The focus of analysis is on the social life of paintings rather than the purely aesthetic. This is explored through a detailed examination of perceptions of the paintings amongst producers, consumers and art critics. The study is an attempt to apply the sociological institutional theory of art on Orissan patta paintings by developing the sociological approach into what I consider to be an anthropological approach. The Orissan patta paintings, with which the study is concerned, are circulated not only within India but also abroad and thus move through different cultural milieus. Following Arjun Appadurai (1986) pattas can be said to have a social life, whose value and meaning change through time and place (1986). The paintings are located in several value systems. These systems will often meet in the very transaction which moves a painting from one sphere to another. One of the central questions raised in the thesis is how particular kind of paintings come to have value and whether they are endowed with different layers of value. The model I have developed is of an art world consisting of interpenetrating layers with different semantic registers. The differences in evaluation and interpretation of the paintings at different points in their "social life" lead me to argue that the layers have the character of separate yet interacting worlds.
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Sapwell, Mark Andrew. "Art of accumulation : the role of rock art palimpsests in Fennoscandia 4500-1200 BC." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648511.
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D'Elia, Una Roman. "The poetics of Titian's religious paintings /." Cambridge : Cambridge University Press, 2005. http://catalogue.bnf.fr/ark:/12148/cb39938959v.
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Zhang, Naijun. "Recent paintings untitled /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1642.
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Thesis (M.F.A.)--West Virginia University, 2000.<br>Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).
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Garlake, Peter Storr. "Rock art in Zimbabwe." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29499/.
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This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.
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Ritter, Domink. "The art of suicide : the pain in paintings." Thesis, University of Hertfordshire, 2009. http://hdl.handle.net/2299/2804.
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This research projects deals with the question of whether the paintings of artists who have committed suicide is reflective of their mental states both in terms of content and form. It specifically attempts to answer whether the deterioration in mental state from a time of better mental health to the time of their suicide is expressed graphically in the paintings of those artists and whether this can be reliably observed. It was discovered that paintings in the absence of contact with or interpretation by the artists, provided enough information to enable non-expert judges to make reliable global content-related judgements (e.g. destructiveness and hopelessness) as well as form-specific ratings (e.g. lack of detail) that distinguished between paintings created near the time of artists’ suicides and their paintings created at a time of better mental health as well as paintings from artists who were suffering from depression. It was also found that non-expert judges were able to correctly identify paintings that were created just before artists’ suicides as reflecting serious mental health problems. Furthermore, it was discovered that there was a general preference for paintings from depressed artists over the last paintings by artists who have taken their own lives. The implications of these findings for clinical work both in terms of assessment and treatment were discussed. Furthermore, several limitations of this research project were noted and suggestions for future research were provided.
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Land, Robert William. "Little Paintings." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1035.
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Little Paintings is a document that describes the creation, influences and process of two films, "Betty Creek" and "New Berlin". The films are personal responses to my experiences growing-up and living in the Southern United States. The Thesis illustrates the influences of painters such as Jimmie Lee Sudduth and Willie Jinks and how their raw painting methods inspire the development of my films using a tactile approach to filmmaking.
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Phillips, Shirley. "Bellori's ekphraseis of Poussin's paintings." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343269.
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Streeter, Stephanie. "Stray: Paintings, Drawings, and Sculpture." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/18.
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The artist discusses her Bachelor of Fine Arts Exhibition, Stray, held at Slocumb Galleries, East Tennessee State University, from April 4th to April 8th. The show exhibit consists largely of self-portraits derived from the artist’s dreams, in an array of media including mixed media on paper, oil on canvas, and wire frame sculpture, all completed in the Spring of 2011, with the exception of one sculpture.
Ideas explored include the influence of dreams, representation of the self, masking, disguising, the loss of home, and the tendency of memory to fade. Influences discussed include the written work of Milan Kundera, as well as the painting of Marlene Dumas, the early printmaking of Paul Klee, and the work of John Currin.
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Zoller, Ian J. "The Paintings of Jeff Koons: 1994 - 2008." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/70251.
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Art History<br>M.A.<br>"The Paintings of Jeff Koons: 1994 - 2008" is an in depth look at the painting of an artist who is still primarily known for his sculptural work of the 1980's. This thesis examines Koons' paintings in light of his previous work and looks at his studio practices, sources, connection to Photorealism, Surrealism, and Duchamp, etc. The thesis contends that a greater understanding and appreciation for Koons' paintings is necessary in order to grasp the importance of his entire oeuvre.<br>Temple University--Theses
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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.
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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.
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Zdanovec, Aubree. "Seduction| A feminist reading of Berthe Morisot's paintings." Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129125.
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<p> Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot’s paintings and applied feminist theory, including third-wave feminism (post-1960’s). My research was angled to approach and understand Morisot’s artwork as a contemporary woman would at an exhibition.</p>
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Hackmann, Max M. "Icons of Hedonistic Perfection: Mel Ramos’ Paintings 1963-1969." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276999207.
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Solomon, Anne Catherine. "Rock art incorporated : an archaeological and interdisciplinary study of certain human figures in San art." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21817.
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Bibliography: p. 206-228.<br>Understanding a widespread motif in San rock art - a human figure depicted in frontal perspective with distinctive bodily characteristics - is the aim of this study. A concentration of these figures in north eastern Zimbabwe was first described by researchers in the 1930s and subsequently, when one researcher, Elizabeth Goodall, described them as 'mythic women'. Markedly similar figures in the South African art have received little attention. On the basis of fieldwork in the KwaZulu-Natal Drakensberg, the south western Cape (South Africa) and Zimbabwe, and an extensive literature survey, a spectrum of these figures is described. In order to further understanding of the motif, existing interpretive methods and the traditions which inform them are examined, with a view to outlining a number of areas in need of attention. It is argued that analysis of rock art remains dependent on a range of dualistic notions which may be linked to retained structuralist ideas. It is suggested that the dominant model in rock art research, in which the rock art is seen as essentially shamanistic, perpetuates distinctions between mind and body, myth and ritual, and sacred and profane, while in its search for general truths concerning the rock art, and its central focus on iconography, the model retains traces of linguistic structuralism. It is proposed that the 'mythic woman' motif, with its gendered and sexual characteristics, is not well accounted for by reference to southern San ritual and religious practice alone. Drawing on contemporary theories concerning temporality and embodiment, it is argued that the motif is better understood in relation to recurrent themes of death and regeneration in San mythology and oral narratives, with shamanistic practice enacting related themes. The motif may be seen as representing San history in terms of culturally specific temporal schemes arising from San experience of the world. The 'ethnographic method', by means of which San accounts are used to illuminate features of the art, is reassessed and extended. Hermeneutic theories are drawn upon in order to address questions regarding the way in which ethnographies and art may be mutually illuminating, and to account for the inevitability of multiple interpretations arising from the situated process of reading or viewing. Prominent themes, images and devices in San myth and oral narrative are discussed in an attempt to move beyond a narrowly iconography-centred approach and in order to account for devices and stylistic features of San arts which are evident in both verbal and visual media. Implications of the research for investigating an archaeology of gender, and the writing of San history, are discussed.
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clark, jared lindsay. "One Million Paintings 2005-2007: A Thesis." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/935.
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I assist discarded collectives of objects to volunteer themselves for inclusion into the privileged legacy of flatness – assuring them they can be transformed into Painting. Reducing my interventions - often to mere arrangement - respects the possibility of this transformation while frankly retaining the objects' original functional identities. Every surface of any object is a readymade painting – especially flat ones. By stacking objects and aligning their surfaces on one privileged side into a flat mega-surface, I am composing and collaging – even building – a painting. With my amateur interest in German I latch upon the double meaning of "Bild" to title my objects, describing my continued interest in the space between painting and sculpture. All my projects transform found objects into ambiguous objects described by Donald Judd as "neither painting nor sculpture". In addition to the Bilds projects such as the Cutllages, the Kitsch Paintings, Soap Drawings, Text Tubes, and List Drawings investigate different ways to transform the found object into painting.While my work is formalist it is decidedly post-modernist in its embodiment of the qualities described by Craig Owens in The Allegorical Impulse: Toward a Theory of Postmodernism.
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Maor, Yonah. "Delamination of oil paints from acrylic grounds." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1487.
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Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.
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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school over the last twenty years. The watershed came with the researches of Vinnicombe (1967) in the southern Drakensberg and Maggs (1967) in the Western Cape who both embarked upon programs of research which had quantification and numerical analysis at their core, so that they could present "...some objective observations on a given sample of rock paintings in a particular area..." in order to compare and contrast paintings from geographically different areas. What Vinnicombe's numerical analyses clearly showed was that the eland was the most frequently depicted antelope and that it must have played a fundamental role "...in both the economy and the rellgious beliefs of the painters...", which opened up the search for what those beliefs might be and how they could be related to the rock art itself. In order to understand what the rock art was all about it was recognised that researchers had to meaningfully contextualise the art within the social and religious framework of the artists themselves. Without the provision of such a relevant context, as many different interpretations of the paintings could be made as there were people with imaginations. Such a piecemeal approach provides a meaningless jumble of subjective fancy which tells us something about the interpreters but nothing about the rock art. It is unfortunate that the advent of this explicitly social and anthropological approach marks the end of the amateur as a serious interpreter of San rock art, for the juxtaposition of the ethnography with the rock art requires a proper training in which the intricacies of symbol and metaphor can be recognised.
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Zdanovec, Aubree, and Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.
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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her accomplishments in a generalized history of the French Impressionist movement. I analyzed nine of Morisot's paintings and applied feminist theory, including third-wave feminism (post-1960's). My research was angled to approach and understand Morisot's artwork as a contemporary woman would at an exhibition.
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Kurosawa, Yukie. "Pages from my diary : a series of paintings and prints." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864930.
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The creative project, which focused in painting and print making was the conclusion of my graduate program in studio art. I executed eleven oil paintings and eleven woodblock prints which demonstrated my development as a twodimensional artist.Although oil painting is the primary medium that I worked in for this project, I expanded my visual vocabulary to include woodblock printing. These paintings and prints were exhibited at the University Theater Gallery on Ball State University's campus in April of 1992.Painting is a vehicle to express my ideas to others. It is also a vehicle for my personal discovery' Being Japanese (Eastern) living in America (Western) has created a cultural duality in my life, which is the main focus of this creative project. The emotional content of each piece is expressed through visual metaphors.This project involves the exploration of the female figure as a self-portrait, rendered in an environment that visually represents my emotional state of mind. It is a visual diary which started out with the creation of small black and white woodblock prints. I created the images of the four seasons with a female figure surrounded by decorative patterns. This idea expanded as I worked on the oil paintings, which are larger in format (human scale). My intention was to provide a stimulus for emotional response while gaining a greater understanding of how colors, shapes, and other elements operate expressively. For example, in most of the images I intentionally positioned the figure so that the face is turned away from the viewer and not portrayed. This allowed the viewers to project their own feelings onto the work.Along with the creation of the paintings and the prints, I researched past and contemporary artists who shared my ideas and concerns. These artists include the post impressionists--Van Gogh and Paul Gauguin; the Nabis--Pierre Bonnard and Edouard Vuillard; the Fauves--primarily Matisse; German Expressionists; and a contemporary English artist, Howard Hodgkin.<br>Department of Art
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Gimenez, Patricia. "“I’m Holding the Brush”: Myth and Memory in the Paintings of Linda Anderson." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291000532.
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Arzuaga, Rachel. "A CULTURAL APPROACH: JUDAISM AND ITS EFFECTS ON MOSES SOYER’S PAINTINGS AND DRAWINGS." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1501191626277916.
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Gould, Sarah. "Making Texture Matter : the materiality of British paintings, 1788-1914." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC311.
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La thèse étudie la question du rapport à la matière des artistes britanniques et de leurs critiques à différentes étapes de la fin du dix-huitième siècle au début du vingtième siècle. Au coeur de ce travail de recherche se trouve la notion de texture, pensée comme outil critique renvoyant à la fois à la surface peinte des oeuvres et à leur iconographie. La thèse démontre que la matérialité apparaît comme une dimension fondamentale de ce qui fait la spécificité de la peinture britannique. La notion de texture, conçue comme concept plastique plus qu'essentialiste, permet de rendre compte de certaines tendances persistantes qui structurent la création artistique, la pensée théorique et le débat critique en Grande Bretagne. Sur la période observée, nombreux sont les artistes qui s'attachent à faire sentir la vérité des phénomènes naturels et le vernaculaire dans leur tangibilité. Aussi, l'approche profondément concrète de la nature (humaine et végétale) par les peintres britanniques rend compte du rapport direct qui s'opère dans leur peinture entre matière observée et matière représentée. La conscience des matériaux et du matériel, telle que la révèle le discours critique, est au centre des problématiques du champ artistique en Grande Bretagne. En historicisant ce rapport à la matière, il s'agit d'inscrire la question de la texture dans un contexte épistémologique — qui lie création artistique et empirisme — et dans un rapport, excentrique, à la modernité. Cet angle d'approche permet de relier différentes périodes trop souvent perçues comme étanches et en ce sens de porter un regard nouveau sur l'art britannique<br>This dissertation looks at how the meaning of the painted surface engaged artists and critics in contemporary discourses at different stages between the late eighteenth century and early twentieth century. At the heart of this research project is the notion of texture, thought of as a critical tool, referring both to the painted surfaces of artworks and to their iconography.This dissertation demonstrates that the concept of materiality is a productive optic through which the history of British art can be read. The notion of texture, conceived as a plastic concept rather than an essentialist one, allows for the identification of persistent tendencies structuring artistic creation, theoretical thinking and critical debates in Great Britain. In the period under focus, there are numerous artists who consistently try to capture the truth of natural phenomena and the tangibility of the vernacular. Thus, British painter's profoundly concrete approach to nature (human or topographical) testifies to the direct links which are created in their paintings between observed and represented matter. The consciousness of materials and of materiality, as revealed by critical discourses, is at the centre of artistic debates in Great Britain. By historicizing the approach to matter, I situate the question of texture in an epistemological context linking artistic creation to empiricism. Considered in this way, texture takes on an eccentric relationship to modernity. This prism of study allows me to link different periods too often perceived as watertight and therefore to offer a new outlook on British art
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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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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 ‘Albertian gaze’ and Arthur Faisman and Michael S. Langer’s (2013: 1) definition of ‘specular highlights’. By analysing and mapping theoretical concerns that come from close readings of three of my paintings I will investigate whether or not our perception of Cartesian perspectivalism can be somewhat confounded by these specific visual characteristics. I will also discuss how overloading the viewer with an excessive use of specular highlights could disrupt any underlying narratives within the paintings. This will be done by subsequently re-examining these theoretical concerns back through my painting practice, forming what Dean and Smith (2009: 19) have termed an ‘Iterative Cyclic Web’. My hypothesis is that these three paintings may be nexus for a particular oscillation between different ways of looking contained within the paintings I will discuss: looking through the surface, looking across the surface and a form of being looked at from inside the surface. This thesis will be underpinned by two interconnected elements. Firstly, there will be an exhibition of selected paintings I have made, together with painting experiments and supporting material. Secondly, chapters in this text will outline the theoretical analysis of my painting practice and the subsequent studio-based analysis of questions derived from the theoretical analysis. This thesis as a whole will closely follow a practice-based research methodology drawn from Katie MacLeod’s (2000: online) writing on ‘revealing a practice’. I will move back and forth between practice and writing as a method for analysing and developing a multifaceted response to my research question.
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Arthur, Brid Caitrin. "Envisioning Lhasa: 17-20th century paintings of Tibet's sacred city." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437525195.
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Bartkutė, Aušra. "Memai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070112_153214-46613.
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As in lots of peoples lifes, freedom in my life takes a very special place. I think, only free human being can be happy. Maybe it was the main reason, why after graduating bachelor of arts I decided to study painting in the faculty of arts further. Because of the possibility not only to learn the subject I love, but also to feel free and independent in my oeuvre in all meanings.
In my postgraduate studies finishing art works I wanted (I tried) to call attention of people to the phenomenon of memes. Meme is an information pattern, held in an individual's memory, which is capable of being copied to another individual's memory, to call attention of people to some stereotypes, which possibly came into our lifes under the influence of memes.
To deny the standard opinion, that we should talk seriously about serious things (problems), I introduce my ten paintings, which are gamesome, “tormentless”, free. Although pending problems are serious, my paintings are not only painted by gamesome and free style (manner), full of various bright, blaze colours. Selected subjects are also voluntary, free. My ten paintings unfold four themes: “Cruelty and coldness”, “Relationship between female and male”, “Time to be born and time to die”, “Freedom����.
For the theme “Cruelty and coldness” I introduce three paintings: 1 – “Do you think, I am worse than you because of that?..”, 2 – “It’s cold inside – we are the robots”, 3 – “The chicken rissole for dinner”. For the theme “Relationship between... [to full text]
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Arana, Emilia. "Eighteenth century caste paintings: The implications of Miguel Cabrera's series." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278537.
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This study examines caste paintings, an art form unique to eighteenth century colonial Mexico. Hundreds of caste paintings were produced, following a compositional template that remained fairly uniform throughout the century. The distinguishing characteristic of these images is their depiction and labeling of Mexico's racially mixed population. A broad discussion of the caste genre places these works in the context of hierarchical colonial society. Focus is on select images by prominent Mexican artist Miguel Cabrera, and the changes Cabrera brings to the caste template. This study places particular emphasis on the women of Cabrera's first two caste paintings, using examples from portraiture and other art forms for contrast. The noble cacique Indian woman of the first image is used as a way to highlight and explore representation of the European and Indian cultures that comprised the major dichotomy of New Spain's social organization.
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Livingston, Amy Miller. "A study of the iconography, style, and origin of three Tibetan Thangka paintings." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407398055.
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KLEOPFER, KIRSTIE L. "NORMAN ROCKWELL'S CIVIL RIGHTS PAINTINGS OF THE 1960s." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179431918.
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Schumacher, Sara. ""Uomini-statua-oggetto" : Giorgio de Chirico's mythologized mannequin paintings in late 1920s Paris /." Thesis, Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6004.
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Doughty, Elizabeth Lynn 1984. "Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.
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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the
Annual National Indian Painting Competition at the Philbrook Museum of Art was
rejected for deviating too far from the established conventions of "traditional Indian
painting." Howe's innovative use of style and his subsequent declarations against the
premises of his rejection established the artist as a major figure in the development of
Native American painting in the twentieth century. The existing literature on Howe is
predominantly biographical and lacks contextual or stylistic analysis. In particular, an
under-analyzed relationship is prevalent between his mature style and his early works.
This thesis aims to address the social, cultural, educational, political, and stylistic
influences that prepared the artist to evolve the formal aspects of his painting. This
discussion will expand the discourse on Howe by revealing trends of continuity in the
artist's transition from his earlier style to an experimental style and showing that neither
is without the influence of the other.<br>Committee in Charge:
Leland M. Roth, Chair;
Joyce Cheng;
Brian Klopotek
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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.
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Muente, Tamera Lenz. "Repose, Reflections, and “Girls in Sunshine”: Frederick Carl Frieseke’s Paintings of Women, 1905–1920." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147531632.
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Morse, Paddy Jill. "A revaluation of the Napoleonic history paintings of Antoine-Jean Gros." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384883600.
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Winter, Leslie J. "Body, Identity, and Narrative in Titian's Paintings." Wittenberg University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1399284506.
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FISER, AMY. "A GIFT TO CINCINNATI IN 1824: THE CARDINAL FESCH PAINTINGS OF THE ARCHDIOCESE OF CINCINNATI." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1025619384.
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Apraiz, Elvira. "Using pictures of paintings as aids to communication with people who have learning disabilities." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247315.
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Marchiori, Maria Laura. "Art and reform in tenth-century Rome - the paintings of S. Maria in Pallara." Thesis, Kingston, Ont. : [s.n.], 2007. http://hdl.handle.net/1974/908.
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Fortnum, Rebecca. "The vision of others : feminist thought in the drawings and paintings of Rebecca Fortnum." Thesis, Kingston University, 2018. http://eprints.kingston.ac.uk/41907/.
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This PhD by portfolio comprises of a critical commentary reflecting on a visual art practice form 1988 to 2013 with a particular focus on four series of recent work: 'Dream' (2011-13) [Appendix B], 'Wide Shut' (2013) [Appendix D], 'Self contain' (2012-13) [Appendix C] and 'L'Inconnue de la Seine' (2010-) [Appendix A] and two exhibitions, Absurd Impositions (2011, V&A's Museum of Childhood) and Self Contained (2013, Freud Museum London). In exploring how the work suggests 'the vision of others' (Hilty, 1996) might be accommodated I exploit the meanings of the word vision. Initially concerned with how the work represents sight and looking, that is both how people become objects of sight as well as how thye see, I explore vision as the formation and communication of an individual outlook or view of the world, that is as dreams, deisres and sense of identity. To map this complexity, I suggest looking, materiality, and narrativity as the core concerns of my painting. The critical commentary is in three parts. The first, Vision, explores the ways in which portraiture opens up an awareness of the ethics of looking and depiction. Framed by notions of a gendered, embodied gaze explored in my earlier painting, I discuss the dynamics of sight within the painted portrait, in particular the reciprocity of look between the artist who originates the depiction, the subject depicted and the viewer for whom the work is made. This includes a discussion of Michael Fried's notion of 'absorption' and in particular what this might mean for depictions of children. The second part, 'Re-Vision', critically assesses how the 'touch' of drawing relates to sight and sightlessness in portraiture. This examination of the materiality of the work articulated how the processes of making inflect the work's meaning. It reflects on the use of the photograph and doubled imagery and on the different forms of mark making and geture employed in the drawings that I propose are able to bring a particular quality of ambivalence to a meditation on maternal gaze. 'Imaging Narrative', the last section, examines strategies for facilitating the reading of text as image and image as text. It explores my material choices, use of juxtaposition, the work's site and a notion of return and how these are deployed to encourage certain interpretations. Here I make a claim for a method of material juxtapositions that allows for a literary overshadowing of the visual, allowing the viewer as an active, imaginative part in the construction of meaning. The idea of autobiography as a fiction is utilised (via Anne Wagner and Paul de Man) in relation to self-portraiture and art-work by women, who are positioned by their gender outside their medium's history and heritage. Through the work I argue there is a direct feminist perspective on the depiction of the gendered and maternal gaze. I draw on art historical and literary criticism to elucidate the work's potential for feminist enquiry. Ultimately these reflections tentatively propose that the work, via a feminist reading, might point the way to a recalibration of certain values within contemporary art practice in relation to genre, site and subject, and through the work's relation to portraiture, drawing, museums and children. My conclusion reflects on the difficulty of an ethical representation of others and its consequential dispersed notion of portraiture. However, I also claim that alongside what Maria Walsh has called within these works 'maternalised optics', 'a shared space of intimacy without judgement' [Walsh 2013: 69-76] there is a perverse and violent aspect to the version of the maternal gaze they propose, creating an undercurrent in the work which leads to a productive ambivalence.
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Scott, Gabriella Boschi. "Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings." Thesis, The University of Texas at San Antonio, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1556588.
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<p> This thesis argues that Mexican painter Enrique Guzmán is a central figure in the transition between the Ruptura movement and postmodernism. Construed by many as a surrealist artist, Guzmán employs idiosyncratic imagery not to probe inner realities, but to explore themes such as abjection and the fragmentation of self into commodity images. Inhabiting the chasm between an oppressive ultra-conservative provincial culture and the turbulent revolutionary ideology of Mexico City of the sixties and seventies, Guzmán articulates, by fusing aesthetic categories such as, among others, the grotesque, the campy and the advertising cliché and exploring language, paradox and gaze, a deconstruction of cultural and political codes by satirizing their interlocking systems of signs and simulacra, initiating a critique of national and personal identity that will later be developed by the Neo-Mexicanists (Neomexicanistas) into a bold denouncement of sexual, socioeconomic and national marginalization.</p>
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Rhodes, James W. Jr. "An Analysis of Visual and Verbal Appropriates in Mark Tansey's Philosophers Paintings." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/37.
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Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.
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Bolgun, Oya. "A study of technology and human relations developed in a series of paintings." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230600.
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The ambition of this creative project was to portray the communication between individuals of our time, which is being made shabby by the effect of technological life. As an artist, I am dealing with the issue of our sense of respect for each other and how much we are aware of each other.This study includes the art works of artists Robert Motherwell and Joan Mitchell by whom I have been inspired. I have learned a lot from their art works and from their philosophies. I will describe my art works one by one in terms of the techniques that I have used, and the feelings behind them.<br>Department of Art
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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2010.<br>Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.
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Chapman, Dana L. "Dutch costume in paintings by Dutch artists : a study of women's clothing and art from 1600 to 1650." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1239103291.
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Shank, Jennifer Sue. "THE EFFECT OF VISUAL ART ON MUSIC LISTENING." UKnowledge, 2003. http://uknowledge.uky.edu/gradschool_diss/397.
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The purpose of this study was to examine the effect of visual stimuli on music listening skills in pre-service elementary teachers. Visual Stimuli in this study refers to the presentation of arts elements in selected visually projected images of paintings. Music listening skills are defined as those skills needed to identify and interpret musical excerpts. A Pretest-Posttest Control-group Design was used in this study. Subjects were pre-service elementary general educators enrolled in a large southern university (N=93). Students from intact classes were randomly placed into either the experimental group or the control group. The treatment consisted of six music listening lessons over a two-week period with each group receiving the identical teaching protocol with the exception of the use of paintings with the experimental group. Listening instruction emphasized the identification of melodic contour, instrumentation, texture, rhythm and expressive elements of the compositions. The Teacher Music Listening Skills Test (TMLST) was constructed by the investigator and administered before and after the treatment. The TMLST was designed to assess music listening skills in adult non-musicians. Results indicate that the group receiving visual stimuli in the form of paintings scored significantly higher on listening skills (pandlt;.01) than the control group which received no visual stimuli in the form of visually projected images of paintings. There was an instruction effect on both preference and familiarity of the musical pieces for both the control group and the experimental group.
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Watson, Jan. "Creative thinking through art : a study of how more able pupils respond to paintings." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501840.
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This study investigates how visual art may be used to stimulate children's creative thinking skills and encourage them to reflect on their preferred approaches to learning. With reference to a wide range of examples, it demonstrates how a number of children (aged from six to seventeen) from ten schools, who had been identified by their teachers as being in some ways able, creative, or both, approached and responded to paintings both individually and in small group discussions. It aims to provide some insight into how the pupils analysed both their own responses and the interpretations of others and used this understanding to create new meanings. It also seeb to address how children express their thoughts and feelings about different types of paintings and how they choose to present their ideas to others.
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Tam, Cheung On. "Understanding museum visitors' experience of paintings : a phenomenological study of adult non-art specialists." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10006676/.
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Karam, Samantha. "Art and Becoming-Animal: Reconceptualizing the Animal Imagery in Dorothea Tanning's Post-1955 Paintings." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/470.
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In 1955, American artist Dorothea Tanning abandoned her figurative Surrealist renderings of dream-like scenarios in favor of a complexly abstract and fragmented style of painting. With few exceptions, the ways in which Tanning’s later works function independently of her earlier paintings tends to be downplayed in the scholarship on her oeuvre. Equally sparse is the scholarship on Tanning’s dog imagery, which pervades her oeuvre but becomes most apparent in her later phase. This thesis seeks to shift attention toward Tanning’s later abstract paintings; it also seeks to fill the gap in scholarship on Tanning’s dogs. Specifically, through the study of five Tanning paintings from the late 1950s and 1960s, with the theoretical aid of Deleuze and Guattari’s conception of the becoming-animal, this thesis will investigate how Tanning’s post-1955 paintings create and promote new ways for viewers to think about the relations between humans and animals in the human-dominated modern world.
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Kwok, Yin-ning. "Concepts of realism and the reception of John Constable's landscape paintings." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39707301.
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Kelly, Simon. "Théodore Rousseau (1812-67), his patrons and his public." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:fa6339c0-2c5d-4d84-b514-ab5ad003f4a1.
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This thesis is a case study of the relationship between a nineteenth-century French landscape painter, Théodore Rousseau, and his patrons and public. My aim is to reconstruct the context in which Rousseau's work was created, thereby inferring what the artist intended for his painting and how his collectors and public approached the style of his work. The thesis examines the nature of the dynamic between Rousseau and his consumers and the extent to which the artist's style may, or may not, be affected by the taste of his audience. In Part I, I examine Rousseau's involvement with the members of his circle including those who supported him during his years of absence from the Salon, the critic, Théophile Thoré, the industrialist, Frédéric Hartmannn and the civil servant, Alfred Sensier. This provides a framework for discussion of a number of ideas which preoccupied both the artist and his patrons including the level of finish in his work, the importance of pantheism, responses to commercial deforestation and the continuing resonances of ancient Greek culture. In Part II, I look at the problem of Rousseau's response to the expansion of the public sphere for art in the nineteenth-century. I approach this by locating Rousseau within the institutional structures of the art world which acted as intermediary between the painter and a wider public. These include the public exhibition, the rôle of the reproduction in the dissemination of his imagery, the importance of one-man public auctions and the position of the dealer as an outlet for the sale of his work. In reconstructing the dynamic between Rousseau and his patrons and public, I have relied above all on primary sources. These have included the often unpublished correspondence of the artist and his collectors, contemporary Salon criticism and sale catalogues, auctioneers' records and the stock-books of the Durand-Ruel firm of dealers, as well as a close formal analysis of Rousseau's paintings themselves.