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Dissertations / Theses on the topic 'Art Paintings'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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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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2

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

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3

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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4

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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5

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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6

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 r

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7

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 glo

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8

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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9

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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10

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

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11

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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12

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 17

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13

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

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14

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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15

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 exten

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16

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 inter

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17

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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18

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 ove

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19

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 contempora

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20

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 persona

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21

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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22

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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23

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 cert

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24

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 ‘Albert

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25

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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26

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

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27

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 parti

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28

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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29

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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30

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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31

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 twen

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32

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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33

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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34

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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35

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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36

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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37

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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38

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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39

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 wi

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40

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, amon

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41

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 paint

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42

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

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43

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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45

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 experim

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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 other

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47

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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48

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 scholarsh

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49

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

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