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Dissertations / Theses on the topic 'Historical art'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Mengler, Sarah Elizabeth. "Collecting indigenous Australian art, 1863-1922 : rethinking art historical approaches." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709014.

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2

Brand, Peter James. "The monuments of Seti I and their historical significance epigraphic, art historical and historical analysis /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0009/NQ35116.pdf.

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3

Rogers, Sarah A. (Sarah Anne). "Postwar art and historical roots of Beirut's cosmopolitanism." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45935.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.
Includes bibliographical references (v. 2, leaves 304-316).
This dissertation charts the production of Lebanese cosmopolitanism from the nineteenth century to the present, examining how this putatively national trait is established through the visual arts. It contends that in order to understand the strategies of a group of artists who have come to represent artistic production in the aftermath of the Lebanese civil war (1975-1990), we must consider the historical formation and failures of Lebanese cosmopolitanism as a national myth. The end of the civil war coincided with a period of celebratory globalism in the art market, and in the following decade postwar artists from Beirut garnered the attention of the western art world. Exhibition catalogues and critical reviews alike characterized this body of work as emerging out a tabula rasa for the visual arts: no audience, no institutions, and no markets. This dissertation argues instead that the postwar generation did not develop out of a historical eclipse created by the civil war, but is part of the much longer history of Lebanese cosmopolitanism. By resituating the postwar generation within this history, we can understand the mechanisms by which the western art world fabricates a mythology of a local art. Tracking Beirut's transition from under the Ottoman Empire and French Mandate to an independent capital besieged by civil war through to the postwar period, I identify those moments when the project of defining Lebanese art comes to the forefront.
(cont.) Integrating an analysis of art works, archival material, institutional histories, and art historical narratives this dissertation suggests that the relationships between the terms cosmopolitan, national, and art are socially constituted and discursively produced. Rather than the innate outgrowth of the independent nation state of Lebanon, cosmopolitanism in this context is revealed as an ideological tools used to entrench internal ethnic boundaries, referencing a particular correlation between Lebanon and Europe, and constructing a national vision historically tied to the Maronite Church of Mount Lebanon. Contextualizing the postwar generation within this longer history allows for an understanding of the broader processes by which history is either made present or obscured in the intersecting imaginative geographies mapped into Lebanon.
by Sarah A. Rogers.
Ph.D.

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4

Williams, Cheryl Lynn. "Mapping the art historical landscape : genres of art history appearing in art history literature and the journal, Art education /." Connect to this title online, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1102365647.

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5

Kean, Kyong (Izabella) Hui. "A Historical and Social Perspective of Korean Art Education." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/6.

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The purpose of this study is to explore the South Korean art education system in the context of history, culture and politics. This thesis provides further explanation on how history has impacted the South Korean art education system and affects current curriculum, theories and practices. Four highly qualified educators and professors from South Korea were interviewed to collect date relating to current practices in South Korean art education. The study focuses on Korean history, which affected the education policies, social perspective, art education theories and curriculum. This study also highlights the relationship of western art education theories and the traditional Korean theories. Understanding culture through history and policies can provide in-depth perspective on why and how South Korean art education has evolved to what it is today. This information may assist art teachers as they modify lessons to fit the needs of students who are immigrating from South Korea.

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6

Depew, Michael Lee. "The Tension between Art and Science in Historical Writing." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1057.

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A perennial question in the philosophy of history is whether history is a science or an art. This thesis contests that this question constitutes a false dichotomy, limiting the discussion in such a way as to exclude other possibilities of understanding the nature of the historical task. The speculative philosophies of Augustine, Kant, and Marx; the critical philosophies of Ranke, Comte along with the later positivist, and the historical idealist such as Collingwood will be surveyed. History is then examined along side art to discuss not only the similarities but, the differences. Major similarities—narrative presentation, emplotation, and the selective nature of historical evidence—between history and fiction are critiqued. A word study of the Greek word ίστοριά will show the essential difference between history and literature. The essential nature of the historical task can best be revealed in the differences between history and art.

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7

Paar, Donna L. "Chronological time development of primary students through art historical inquiry." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1991.
Source: Masters Abstracts International, Volume: 45-06, page: 2772. Abstract precedes thesis as [1] preliminary leaf. Typescript. Includes bibliographical references (leaves [41-46]).

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8

Ralphs, SCT. "On Distance: From art history to Ernest Mancoba." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8203.

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In this thesis the central narratives of Western art history, specifically those related to modernism and African art, are considered in light of a climate of criticism concentrated over the past thirty years in Western and South African an historiography. In considering complexities of interpretation of the life and work of the African modernist painter, Ernest Mancoba, I address a perceived need for a critical discourse pertaining to early black South African modernist art. As a way of organising both my critique and contribution, I establish and use the thematic of distance. This work argues for greater consideration of individual motivation and circumstance in our understanding of early African modernist art production.

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9

Lancaster, John Maurice. "An historical study of specialist art teacher education in Bristol." Thesis, University College London (University of London), 1985. http://discovery.ucl.ac.uk/10019554/.

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10

Kim, Hyungsook. "Objects and knowledge : a historical perspective on American art museums /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488188894441767.

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11

Gladston, Paul. "Art history after deconstruction : is there any future for a deconstructive attention to art historical discourse?" Thesis, University of Nottingham, 2004. http://eprints.nottingham.ac.uk/12638/.

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Over the past two decades institutionally dominant art history has been strongly influenced by the theory and practice of deconstruction. While many art historians have embraced deconstruction as a productive means of unsettling and remotivating standard forms of art historical discourse, others have raised concerns over what they see as a widespread departure from the most basic tenets of art historical discourse; that is to say, not only the belief that there is a circumscribed category of aesthetic experience (art), but also that it is possible to arrive at a truthful representation of the relationship between works of art and the circumstances of their production and initial reception (history). Moreover, many of those same commentators have railed against the way in which this departure can be understood to have suspended any sense of a stable, structural connection between a historical is and a present ought; in other words, the notion that a truthful understanding of past events has the potential to inform ethico- political activity in the here and now. Our intention here is to problematize this apparent schism by demonstrating that art historical discourse has drawn the very possibility of its continuing conceptuality since Antiquity from a chronic and, for the most part, unconscious deconstructive interaction between the signifying ‘texts’ of art history and what might be seen as the various material, social and intellectual forces pertaining to the wider historical ‘contexts’ of their production and reception. Thus, we will have attempted to show that deconstruction is indivisible from continuing discursive attempts to arrive at a ‘truthful’ understanding of the past. In addition to this we will also attempt to show - with reference both to the writings of Jacques Derrida and a Duchampian inheritance in the visual arts - that it is possible to develop deconstructive forms of historical narrative through which we might engage critically with questions of ‘ethico- political’ value.

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12

Hatch, Marci Joy. "The value of forgeries, a meaningful tool of art historical study." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ30677.pdf.

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13

Magagnoli, P. "Reclaiming the past : historical representation in contemporary photography and video art." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355956/.

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Since the late 1990s a new tendency has emerged in contemporary art whereby artists deploy archival research to explore the mechanics of historical representation and evoke the past. This thesis examines the works of some of the most relevant practitioners of the new tendency who are working with video, photography and film and explores the reasons for the return of historical representation in art. In the introduction the study sets the tendency against the background of modernist, postmodernist theories and the historiographic debates of the last thirty years. The first chapter attempts a critical re-evaluation of the concept of nostalgia; by examining the works of Tacita Dean, Joachim Koester, and Matthew Buckingham, a more nuanced concept of nostalgia emerges, for which this approach to the past does not appear as a sentimental and escapist fantasy but, on the contrary, as a strategy to reflect critically on the present and re-imagine the future. In my second chapter I focus on the experimental documentaries of Anri Sala, Walid Raad and Hito Steyerl. These works are based on a sophisticated notion of truth that overcomes the Platonic dualism between truth and appearance. The third chapter considers the photographic archives of Zoe Leonard, Rachel Harrison, and Jean-Luc Moulène. These archives represent recent historical events through the figure of the commodity. I ask whether these works should be considered as amnesiac archives and whether they confirm the Marxist notion of the commodity as memory disturbance. The fourth chapter examines the use of digital images and technologies by Sean Snyder, Hito Steyerl and Paul Chan. These artists challenge the narrative of crisis and catastrophe predominant in 1990s theories of new media, which considered the digital image in term of a profound loss of memory and historicity. The dissertation concludes with a critical assessment of the political importance of the artistic tendency.

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14

Kurokawa, Kumiko. "Jade openwork egret finials their historical context and use in China and Korea /." Online version, 2004. http://bibpurl.oclc.org/web/23612.

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15

Stevenson, Michael. "The art market, its intermediaries and the components of value of art works in an historical perspective." Master's thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/21499.

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Bibliography: pages 247-263.
The dissertation begins with an historical overview of aspects of the Western art market, and continues with a discussion of financial and economic aspects of the art market. Throughout the factors and intermediaries that come into play in the determination of economic value and the price of exchange are considered. There are two common threads to the dissertation in relation to both art history and financial theory: firstly, the analysis of the role of intermediaries and institutions; and secondly, the valuation of art works in relation to the Components of Value of art works. In the Introduction the concept of intermediation in the context of the art market is discussed, as is the financial and economic definition of an art work. The historical overview that follows is a descriptive analysis of the various support systems and intermediaries in the Western art market from the Renaissance through to the late twentieth century, the guilds, patrons, academies, and dealers, that have and still do function as intermediaries to expedite the transfer of works of art in primary and secondary markets. Five art markets have been selected to provide an historical overview of the structure and functioning of the Western art market. These are Italy in the fourteenth, fifteenth, and sixteenth centuries [Chapter One]; the Low Countries in the sixteenth and seventeenth centuries [Chapter Two]; England from the seventeenth through to the late nineteenth centuries [Chapter Three]; France from the seventeenth to the early twentieth centuries [Chapter Four]; and the U.S.A. in the late nineteenth and the twentieth centuries [Chapter Five]. These periods and geographical locations have been chosen to draw attention to the historical shifts in the structure and functioning in the art market. In Chapter Six the Components of Value of art works through history and in the art market of recent years are analysed. The Components of Value are those factors, aesthetic, historical, economic, and otherwise that, depending on the art work and period in which it is exchanged, influence the economic value of art works. This chapter then considers in detail the range of Components of Value that each contribute in a different manner to the price of exchange. The concluding chapter provides an analysis of the 'supply' of art works in. terms of the suppliers, the artists; and the demand, the consumers; and the linking of the supply and demand by art market intermediaries in terms of the Components of Value.

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16

Hopkins, David. "Hermeticism, catholicism and gender as structure : a comparative study of themes in the work of Marcel Duchamp and Max Ernst." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328353.

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17

Sinisi, Sarah. "Irma Stern (1894-1966) : the creation of an artist's reputation in her lifetime and posthumously, 1920-2013." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20626.

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This dissertation examines the reception of the artist, Irma Stern, from 1920 until 2013. Irma Stern has, since her lifetime, been one of South Africa's most celebrated artists. She has received a great deal of scholarly attention, attention in the popular press and on-going recognition in the market place. Through an evaluation of press clippings, literature, archival material (photographs, the minutes of meetings and letters) and market results, this study questions how Stern has come to assume such a privileged position, why she is of such scholarly interest and how she is valued in the market. The impact of different variables on Stern's reception - including social, political and intellectual factors - is investigated. It is proposed that, initially, the artist actively promoted herself, thus playing an important role in establishing her fame. However, her reputation has been built over time and what emerges as important is that audiences have approached and interpreted Stern differently at different times. During the artist's lifetime she was admired for her perceived ability to capture the 'spirit of Africa', apparently evident in her paintings of those culturally different from her. These paintings - of black African, Indian, coloured and Arab subjects - have remained an integral aspect of the artist's reputation and they are at the centre of much of the scholarly debate on the artist in the 1990s and 2000s. Stern has provided rich material for writers at different times and of different ideological positions - from colonial to postcolonial discourse and feminist studies. Also relevant to Stern's sustained reputation is the international recognition the artist has received. Stern's links to German Expressionism and recognition from foreign scholars and institutions served to legitimate the artist to a South African audience in her lifetime and posthumously. Moreover, the market has had an impact on Stern's reputation. While she was commercially successful in her lifetime, in the early 2000s her market values exceeded those of earlier periods and surpassed those of other twentieth-century South African artists. As a result, Stern's reputation in the 2000s is linked to her high market values; this dissertation closely investigates some of the factors that have influenced this market value. In conclusion, this dissertation fills a gap in the literature because it 1) analyses the artist's market and 2) provides an in-depth investigation of the development of the artist's reputation. A study in reception, it does not add to the already plentiful appraisals of the artist's work but considers instead how this work has fared within the context of the academic, popular and commercial art world.

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18

Franzidis, Eva. "Hidden treasures in Ivory Towers : the potential of university art collections in South Africa, with a case study of UCT." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8200.

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Includes bibliographical references (leaves 117-123).
This dissertation takes as its central theme the context of a university as a setting for artworks. While globally many university art collections enjoy prominent status in their communities, and are well endowed and visited, their South African counterparts are sorely underused and valued. Thus, the aim of the study is twofold; in the first instance, an argument is made for the positive and productive role South African university art collections can play within their society - and primary research reveals the rich and varied collections held throughout the country. The second focus is on one particular case study: the University of Cape Town (UCT) art collection, and the acquisition body that oversees it, the Works of Art Committee (WOAC). Through a detailed analysis of this committee's thirty-year archive, and informed by the experience of an extensive internship with the WOAC, the study provides an overview of their operation, assessing their successes and failures. What is revealed is that there are numerous problems inherent within the way in which this committee is run, and the management of the art collection in general. Aside from compositional issues within the committee itself, the fact that there is no educational integration between the collection and the university community, is highly problematic. As such, numerous suggestions are offered, with the hope that the collection can become a more meaningful presence to those on campus, and beyond. For, with a far healthier acquisition budget than the South African National Gallery, and access to a large and diverse audience, it seems as though a highly exciting opportunity is being overlooked.

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19

Barben, Marc Walter. "What does it mean to be a 'national' gallery when the notions of 'nation' transform radically?: An analysis of the Iziko South African National Gallery's practices and policies in historical contexts." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13650.

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Includes bibliographical references.
While much has been written on the European display of non - western art and artefact collected from their colonies in Africa, less has been documented about the European settler arts institutions, like the South African National Gallery (SANG), whose distant location away from the imperial centre initially presented particular challenges. In South Africa, since colonialism, these challenges have been expanded by settler nationalisms, a racially oppressive regime, a liberation movement, and a relatively peaceful transition to a democracy. In its form and its function, the SANG has reflected the redefined nationalisms that accompanied these historical moments. In light of the global history of national galleries and more recent theoretical discussions about cultural institutions, this study probes the complex layering of histories evidenced in collection and exhibition practices at the SANG in its historical contexts. Historically South African galleries have reflected colonial and later apartheid ideologies. With the transition to a democratic society in 1994, the ‘new’ South Africa ushered in a radically redefined national identity. If national collections reflect the nations to which they belong, this study questions the SANG’s ability in reflecting successive redefinitions of South African nationhood, and its adaptability in meeting shifting social and political requirements. By examining shifts in collections and display practices and policies, in the SANG’s historical contexts, this paper ultimately asks the question: What does it mean to be a ‘national’ gallery when the notions of ‘nation’ transform radically?

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20

Van, der Hoek Jessica. "The faithful and/or flattering in 19th Century portraiture." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13996.

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The nineteenth century's creation of different optical devices such as the camera obscura, the kaleidoscope and the thaumatrope signifies a change in the perception of vision at the time. The aim of this dissertation is to examine the work of four artists with reference to nineteenth century concerns surrounding vision. The scope for this examination is limited to the painted portraiture of Dante Gabriel Rossetti and John Singer Sargent and photographic portraiture of Julia Margaret Cameron and FÃ©lix Nadar Tournachon. Rossetti and Cameron represent two Victorian artists whose vision is turned inward to the imagination, with feelings of nostalgia and sentimentalism evoked in their portraits. This dissertation argues that the act of turning the eye inwards to the imagination is at the root of the flattering quality of these two artists' portraits. A further argument is that the sustained use of literary reference is the catalyst to the inward vision seen in these two Victorian artists' work. I examine Dante Gabriel Rossettiâ€Ÿs later phase of idealised and "flattering" portraits of women in relation to the sonnets that Rossetti began to physically attach to either the frame or canvas of the portrait. The use of literary reference as catalyst to the inward vision is discussed namely through Julia Margaret Cameronâ€Ÿs photographic portraits based on Alfred, Lord Tennyson's Enoch Arden. Cameron's allegorical and often mythological portraits of women are then analysed in order to establish the "flattering" quality of her portraits. With regards to the two artists who have been termed "faithful", an examination of their more outward vision and focus on the exterior realities is discussed. An exposition surrounding FÃ©lix Nadar Tournachon's "faithful" photographic portraits of nineteenth-century celebrities follows the discussion on Cameron. In order to further enquire into the notion of nineteenthcentury celebrities, an examination of John Singer Sargent follows. With the idea of Sargent being torn between the faithful and the flattering, I examine his more faithful Portrait of Madame X in relation to his later flattering celebrity portraits painted in the Grand Manner. In conclusion it will be suggested that Victorian and French ideas of vision and representation differed, exemplified by these four artists. These two very different perceptions of vision, one inward and the other outward, is the root of my distinction between the "faithful" and the "flattering" as manifested in portraiture.

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21

Murray, Raymond Laurence. "Lamhscribhinn staire An Bhionadaigh (An edition of Art Mac Bionad's historical manuscript)." Thesis, Queen's University Belfast, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333826.

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22

Bodor, Judit. "Exhibiting the Ivor Davies Archive of Destruction in Art : an exploration of curating historical performance art in the Museum." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/5e9fe4ac-0851-4fda-a926-3cb89f1378c7.

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This thesis outlines, documents and evaluates my Practice as Research contribution toward the curatorial process of addressing the specific material identity of Ivor Davies’ performance work and destruction art practice for exhibition in National Museum Cardiff. The thesis comprises a contextual review (exploring the relationship between performance, curatorial practice and the Museum), exhibition case studies, and an analysis of the histories of Davies’ destruction art-related 1960s performance practice as it has been disseminated through publications, archiving and exhibitions. It introduces the strategies applied to the presentation of these artworks in the context of the artist’s 2015 solo retrospective exhibition – in particular, strategies of ‘remediation’ – and locates them in a differentiated understanding of the nature of the work on the one hand, and the needs of a museum exhibition on the other. The research proposes ‘remediation’ (as opposed to reconstruction, re-enactment and other reiterative strategies that are widespread in current curatorial practice) as a suitable strategy for exhibiting historical performance art in the Museum, which bases curatorial decisions not on the similarity to the original (historical) event, but on recovering and preserving key elements and performative qualities of the work, thus providing a continuum between historical and contemporary spectatorship. Through documentation and discussion of the curatorial strategies and processes applied (including archiving, exhibition design, and approaches to presentation) the thesis encourages reflection on the reproducibility of Davies’ performance artworks and the influence that exhibition has on these works’ appearance and experience. The thesis provides new insight into the materiality of Davies’ performance work (exemplified in the exhibition particularly by the approach to the presentation of Davies’ 1968 multimedia experimental theatre event, Adam on St Agnes’ Eve, and his performance lecture at the 1966 Ravensbourne Symposium), which throws new light upon the formal diversity of performance in the UK in the late 1960s. By doing so, the thesis aims to provide substantial new insight into curatorial practice with relevance to the further study of exhibitions of historical performance art in museum contexts more broadly.

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23

Sawyer, Monique Ernestine. "Historical Settlements in Sarpy County, Nebraska, 1803-1900." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625337.

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24

Nateman, David S. "An historical examination of the development and revision of art teacher education and certification standards in Ohio between 1802 and 1974 /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487266362335846.

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Newbrook, Carl John. "The workman of art : an historical account of the career of Joseph Conrad." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315990.

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Ladapoulou, Anastasia. "The work of Art as historical event : Heidgger's later philosophy as aesthetic theory." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.510524.

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Golden, Lauren. "An historical enquiry concerning the imagination in philosophy, art history and evolutionary theory." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249433.

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Kamposiori, Christina. "Personal research collections : examining research practices and user needs in art historical research." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10056757/.

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This thesis examines the way that art historians build their personal information collections through focusing on how they gather, use and manage information in the context of their research and teaching projects. In recent years, the rapid technological advancements and the proliferation of digital resources have greatly affected the way scholars approach, create and manage information in the Arts and Humanities. Regarding art historians, most studies so far have looked at their information seeking behaviour. Therefore, there is little information available on how researchers in this area handle the information after discovery. This is the first study exploring this aspect of scholarship in the field of art history; for this purpose, individual interviews with twenty art historians were conducted along with observation of their personal information collections in the physical and digital environment. The results showed that certain areas in art history have still limited access to useful digital resources while there were certain factors- previously not thoroughly explored- influencing scholars' trust of resources, such as the design of a resource. The emerging types of information objects used for research and teaching in the field, such as born digital data, were also linked to needs noted throughout the scholarly workflow that have not been met yet. Moreover, the two-phase gathering behaviour of scholars suggested that art historians have different information needs at different stages of the research process; an important issue considering that previous research has looked at this practice more as part of the initial stages of research in the field. Finally, examining the information management behaviour of scholars led to the identification of the implications for resource design to effectively facilitate research and pedagogical practice in this area; flexible designs, intuitive and visual interaction with information as well as simple interfaces were some the main things scholars needed.

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O'Rourke, John Peter. "East-West-occult : esotericism through fine art practice, autobiographical referencing and historical research." Thesis, Aberystwyth University, 2011. http://hdl.handle.net/2160/8f55311a-6116-4b2d-92b0-674478f68f1e.

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Walker, Jan Bridwell. "The evidence of Bias within Art Historical Methodolgy and the Potentiality of Viewer Dialog as a Pedegogical Tool." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etd/891.

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The evidence of cultural and social partiality within the methodology of art history has influenced the manner in which art is presented to the public. The formally structured and often obsolete methods of the earliest art historians continue to influence the telling of art history today, relying on and emphasizing art historical fact over the viewer's personal interaction and interpretation. The traditional structure of both the public art museum and art education course rely on the classical methodologies of the past, resulting in the presentation of the object as historically and socially removed from the viewer's own experience. The role of the art historian should cease to be one of translator, but rather one of facilitator to the artistic exchange. It is through this intentional dialog between artist, viewer and art object that authentic enlightenment occurs.

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31

Johnson, Lewis Keir. "On the false identities of word and image : Blake, Rossetti and David Jones." Thesis, University of Sussex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283621.

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32

Economou, Inge. "Motopomo: the historical-theoretical background to contemporary graphic design practices." Thesis, Port Elizabeth Technikon, 2005. http://hdl.handle.net/10948/179.

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This study proposes to illustrate that the twentieth century passage from modernity to postmodernity, with its induction of socio-cultural development and attitudinal change, exists as a fundamental means of informing the character of contemporary graphic design practice1. Today, in contrast to the intentions of this study, many appraisals of graphic design work would seem to place too much emphasis on the analyses and evaluation of the stylistic character of creative practices and not enough on the theoretical, historical and attitudinal issues surrounding them. As such, this study attempts to reveal the meaning and moreover the relevance of philosophical, social, cultural and critical theory for contemporary, postmodern graphic design practices. This is done in order to provide graphic designers with a reflective awareness of the structure of the cultural context within which they work, and takes into account twentieth century cultural theory and twentieth century, western graphic design practice, within the framework of the passage from modernity to postmodernity.

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Morrison, Pamela Jay Hudson. "An Evaluative Study of Three Units Developed for Multi-cultural and Art Historical Resource Curriculum for Kindergarten and First Grade Art." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc935573/.

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Two curricular needs exist for the elementary art classroom: multi-cultural lessons which are customized to address North Texas ethnicities, and art history materials for early grades, whether taught by art teachers or regular classroom teachers. This thesis addresses both of these concerns by developing lesson plans to meet the needs, and executing an evaluative study with North Texas art and regular classroom teachers of kindergarten and first grade. The teachers represent four districts, including rural, suburban, and urban demographic populations. Findings address time limitations for public school teachers, cultural exchange differences between demographic groups, and differences between presentation of the units by regular classroom teachers versus art teachers.

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Faita, Antonia Stella. "The Great Altar of Pergamon : the monument in its historical and cultural context." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/4c340190-355f-4116-95b8-e36116f1ed1d.

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Since the day of its discovery (1878) the Great Altar of Pergamon has been evaluated for its aesthetic and stylistic contribution to Greek art. The aim of this thesis is to study the monument not merely from an art-historical point of view but within its historical and cultural context. The intention is to view the Pergamene monument as a characteristic example of the Hellenistic age and in relation to the Attalids as Hellenistic rulers. It is divided into five chapters. The first deals with the monument itself and the various theories regarding the date of its inception, the number of sculptor/s employed and the theories of interpretation so far suggested. The second chapter examines certain aspects of Attalid policies such as: military history and foreign relations, coinage, cults and festivals, ruler-cult, art and building programme, and finally patronage of learning. The third and fourth chapters deal with the friezes of the monument - the Gigantomachy and Telephos frieze respectively. They examine the iconographic tradition of the myths depicted, the current literature on the style of the friezes, some difficulties with currently accepted theories are noted and new theories advanced. The fifth and final chapter is divided into two parts. The first part points out the elements of the artist's technique that make the monument a characteristic example of the Hellenistic Aesthetic. The second part examines how the imagery on the monument was manipulated by the Attalid kings in their search for self-definition. Their case is examined against the examples of 5th century BC Athens and 1st century BC Augustan Rome

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Doyle, Kathleen. "Re-reading St Bernard : text, context, and the art-historical interpretation of the Apologia." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414776.

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Wrapson, Lucy Jane. "Patterns of production : a technical art historical study of East Anglia's late medieval screens." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695227.

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Greenwood, David M. "Visual representations of the numinous : a philosophical, art historical and theological inquiry 1780-1880." Thesis, Aberystwyth University, 2015. http://hdl.handle.net/2160/b1f52317-4795-4765-92a1-875a6654c25d.

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This thesis embraces the disciplines of philosophy, art history and practical theology. It is concerned with the ways in which artists have endeavoured to express the numinous or point towards the Transcendent through landscape painting. The Transcendent is described as that recognition in mankind of the capacity of knowing truth intuitively, or of attaining a scientific knowledge of an order of existence transcending the reach of the senses, and of which we can have no sensible experience. This thesis will demonstrate that landscape drawing and painting can be a means of showing the viewer glimpses of that transcendent domain. Whilst paintings of theophanies and of biblical scenes have long been created by artists to produce works that are suitable for altarpieces, it will be my contention that depictions of landscape can be also be used as aids to devotion. The period chosen for the study is 1780-1880 but for contextualisation I will at times discuss matters that lie outside these boundaries. This period covers the reawakening of the discipline of aesthetics, and the development of Idealism in Germany propounded by Immanuel Kant and Friedrich Schelling, one of the consequences of which led to recognition of landscape painting as fine art. I argue that some artists express their view of God through their images, producing hieroglyphs, divine images which can induce mystical experiences in the mind of the viewer and could be used as aids to devotion with some even being regarded as sacred. A discussion of religious experience and trigger factors is included, embracing the work of Friedrich Schleiermacher and Rudolf Otto. The works of a number of artists have been considered but special emphasis is given to Samuel Palmer and Caspar David Friedrich.

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Ryoki, Aoki. "Women and Noh : the historical development of Japanese Noh theatre as a masculine art." Thesis, SOAS, University of London, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.767456.

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Sharrock, Peter David. "The Buddhist Pantheon of the Bayon of Angkor : an historical and art historical reconstruction of the Bayon and its religious and political roots." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.566273.

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Peete, Ireanna Aleya. "A Historical Study on the Implications of Brown v. The Board of Education on Black Art Educators." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1592239705805405.

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Baines, Robert, and robert baines@rmit edu au. "The Reconstruction of Historical Jewellery and its Relevance as Contemporary Artefact." RMIT University. Art, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070419.153736.

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The dating of ancient jewellery is given by the archaeological context. Technology applied by the ancient goldsmith is traceable through archaeometallurgy. The aim of this research is to analyse historical jewellery and to construct copies based on the known technology of the era. Resultant laboratory constructions with their historical correctness and the new knowledge of jewellery structures will then be available for reworking to convey a contemporary visual relevance and a statement of history. The results of these analyses and reconstructions will form the basis of metalwork objects in which contemporary aesthetics are informed by historical practice. Jewellery offers a view into history, of cultural descriptions of stylistic, chemical and methodological correctness. For diagnostic purposes there is the expectation of an archaeological correctness within the fabric and manufacture of the jewellery object. From the vantage point of a contemporary goldsmith, t his has provided me with an arena for artistic interpretation-for 'play'. Historical jewellery becomes contemporary jewellery forms and the 'play' functions as a stumbling block and an upheaval within orthodox classification of authenticity. There is in this disturbance an intervention with coontemporary ephemeral materials into the jewellery artefact in which I manufacture a semblance of an identified 'correctness'. Jewellery remains in a better state of preservation when hidden or concealed-not exposed. The jewellery object once surfaced, discovered, excavated or plundered or even worn becomes part of our time for reworking. Knowledge and applications of technology become the vehicle for scrutinizing these objects. We live in an era where the ancient and the recent, the authentic and the bogus, have begun to mingle and interbreed in the corridors of hyperspace. Television stages Xena the Warrior Princess encountering the young Buddha in the entourage of King Arthur. Fakes with historical associations can s ometimes be considered authentic as a shroud of 'history' can encompass the object to the satisfaction of the naive connoisseur who wants to believe, wants to believe, wants to believe, wants to believe ... . Jewellery as document is available for interpretation-for'play'. There is potential to return to an imaginary history where ffictional detail has been confused with historic fact and this can be both intentional and unintentional. Jewellery of the past therefore exists in the present and the jewellery artefact becomes available for evaluation and for 'play'. In the analysing and categorizing of type, jewellery as vehicle conveying the past can become a mixture of one's own inventions and cultural inheritance. From the vantage point of a goldsmith, I am considering how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery is a possibility and new input can verify authenticity or engender falsehood throu gh the artistic reinterpretation.

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Kostro, Mark. "Eyewitnesses to Surrender: Domestic Site Archaeology at Appomattox Court House National Historical Park." W&M ScholarWorks, 2003. https://scholarworks.wm.edu/etd/1539626395.

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Chen, Karen Y. "Constructing Historical Truth: An Examination of the Chinese Art Market As A Reflection of China’s Concerted but Conflicted Contemporary Reconciliation with its Problematic Past." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/877.

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This paper examines the connection between art and nationalism in Chinese culture and asserts that the recent market boom and price jump in Chinese fine art reflects a concerted yet conflicted effort by the Chinese government and Chinese society as a whole to reconcile with a problematic twentieth-century past. The paper first delves into the historical practice of utilizing art to construct political narratives though Ming-Qing dynasties before examining how antiquarianism was utilized by Mao Zedong himself and by the modern day Chines Communist Party.

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Pienoski, Christine Marie Pienoski. "Pyramids of Lake Erie: The Historical Evolution of the Cleveland Museum of Art's Egyptian Collection." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461522282.

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Orchardson, Elizabeth C. "A socio-historical perspective of the art and material culture of the Mijikenda of Kenya." Thesis, SOAS, University of London, 1986. http://eprints.soas.ac.uk/28615/.

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The Mijikenda peoples inhabit the coastal hinterland of Kenya. They comprise of nine subgroups of closely related people who speak mutually intelligible dialects of the Northcoast Bantu. The nine subgroups share a common history of origins and common social, cultural, economic and political institutions. The thesis begins with an outline of the history and ethnography of the Mijikenda to the present day. This provides the basis for discussion of how the manufacture of the art and artifacts are linked to social, ritual and political institutions, and how they have been modified through the colonial and post-colonial periods. Particular attention is given to sculptures in wood and in clay that are part of ritual contexts. Problems of style, aesthetics and meaning are also discussed. Finally the present state of these arts is considered and the extent to which Mijikenda artists have begun to produce for an external patronage.

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Valevičius, Martynas. "Urban Lighting: Historical Development and Contemporary Trends." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100409_085152-85551.

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The subject of this scientific research is urban artistic lighting, analyzed herein as a means for highlighting the urban and architectural features and aimed at evaluation of aesthetic qualities of the nightscape depending on its illumination. Aesthetic (application and keeping to the beauty criteria) illumination development, contemporary trends and their influences on the nightscape formation is under analysis in the present work. Any psychological, physiological, ecological, economical, different technological and any other aspects are analyzed only in so far as they are related to the field of art criticism. The development analysis covers the entire history of human kind with the main focus being made on the period starting with electricity invention and spread of lighting, i. e. from the second half of the 19th century till nowadays, in foreign, as well as Lithuanian practice.
Darbo mokslinių tyrimų objektas – miestų meninis apšvietimas, kuris nagrinėjamas kaip urbanistikos ir architektūros požymius išryškinanti priemonė, siekiant įvertinti naktinio miestovaizdžio estetines kokybes ir jų priklausymą nuo apšvietimo. Nagrinėjama estetinė (grožio kriterijų taikymas ir laikymasis) apšvietimo raida, šiuolaikinės tendencijos ir įtaka naktinio miestovaizdžio formavimui. Psichologinis, fiziologinis, ekologinis, ekonominis, įvairūs technologiniai ir kiti aspektai nagrinėjami tik tiek, kiek yra susiję su menotyros sritimi. Raidos tyrimas apima visą žmonijos istoriją, tačiau dėmesys telkiamas į laikotarpį nuo elektros apšvietimo išplitimo, t. y. nuo XIX a. pabaigos, iki šių dienų.

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West, Sharon Ann, and sharon west@rmit edu au. "A pictorial historical narrative of colonial Australian society: examining settler and indigenous culture." RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091104.102857.

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This exegesis covers a period of research and art practice spanning from 2004 to 2007. I have combined visual arts with theoretical research practice that considers the notion of Australian colonialism via a post colonial construct. I have questioned how visual arts can convey various conditions relationships between settler and Indigenous cultures and in doing so have drawn on both personal art practice and the works of Australian artists of the 19th and 20th centuries. These references demonstrate an ongoing examination of black and white relations portrayed in art, ranging from the drawings of convict artist, Joseph Lycett, through to the post federation stance of Margaret Preston, whose works expressed a renewal of interest in Indigenous culture. In applying a research approach, I have utilised a Narrative Enquiry methodology with a comparative paradigm within a Creative Research framework, which allows for various interpretations of my themes through both text and visuals. These applications also express a personal view that has been formed from family and workplace experiences. These include cultural influences from my settler family history and settler historical events in general juxtaposed with an accumulated knowledge base that has evolved from my personal and professional experience within Indigenous arts and education. I have also cited examples from Australian colonial and postcolonial art and literature that have influenced the development of my visual language. These include applying stylistic approaches that incorporate various artistic aspects of figuration and the Picturesque and literal thematic mode based on satire and social commentary. Overall, my research work also expresses an ongoing and evolving process that has been guided and influenced by current Indigenous and non-Indigenous Australian postcolonial critical thinking and arts criticism, assisting within the development of my personal views and philosophies .This process has supported the formation of a belief system that I believe has matured throughout my research and art practices, providing a personal confidence to assert my own analytical stance on colonial history.

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Broadus, Cassandra Ann. "Visual works of art as a stimulus for linguistic references and historical time conceptions in third grade students." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc798389/.

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This study investigated the relationship between visual cues in art reproductions, simple linguistic time vocabulary and children's temporal understandings. During interview sessions, 33 third-grade students attending two suburban schools were asked to place three art postcard reproductions sets in chronological order. Interviews were recorded, transcribed, and coded for analysis. Linguistic references used to represent historical time and visual cues within the art postcards which caused students to place art works in a particular time sequence were documented.

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Barnett, Teresa. "The nineteenth-century relic a pre-history of the historical artifact /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1562129951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Mozūriūnaitė, Skirmantė. "Urban mutations affecting the Changes of historical urban Environment." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20130116_152907-30116.

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The dissertation explores the peculiarities of changes of functional mutation phenomenon. The subject of research covers mutations and transformations in the functional structure of downtown areas of Vilnius, Kaunas and Klaipeda in the period of different social orders (1960 2009) and technological inventions. Urban functions are an important element in the urban structure reflecting problems of the structure and factors influencing them. The detailed research based on the case study of Vilnius city reveals the issue of complexity and multiplicity of functions. The main objective of the dissertation is to evaluate the peculiarities of mutations and transformations formed in the functional structure of the downtown parts of Lithuanian cities (Vilnius, Kaunas and Klaipėda) and their determining factors. The dissertation also aims at disclosing the regularities of urban functional structure, mutations and transformations. The dissertation consists of an introduction, three chapters, conclusions, lists of bibliography and the author’s publications on the dissertation subject, as well as addenda. The introductory chapter introduces and discusses the research issue and relevance of the work, describes the research subject, formulates the purpose and tasks of the work, defines the research methodology, scientific novelty of the work and theses to be defended. By the end of the introduction, three author’s articles on the dissertation subject that have earlier been published in peer... [to full text]
Disertacijoje nagrinėjami funkcinių mutacijų reiškinio kaitos ypatumai. Pagrindinis tyrimo objektas – Vilniaus, Kauno ir Klaipėdos miestų centrinių dalių funkcinės struktūros mutacijos ir kaita skirtingų visuomeninių santvarkų bei technologinių atradimų laikotarpiu 1960–2009 m. Urbanistinės funkcijos yra svarbus urbanistinės struktūros elementas, atspindintis urbanistinės struktūros problemas ir jas veikiančius veiksnius. Detalus tyrimas Vilniaus miesto pavyzdžiu atskleidžia funkcijų kompleksiškumo ir daugiafunkciškumo problemą. Pagrindinis disertacijos tikslas – įvertinti susidariusių funkcinės struktūros mutacijų ir transformacijų centrinėse Lietuvos miestų (Vilniaus, Kauno ir Klaipėdos) dalyse ypatumus ir jas lemiančius veiksnius. Disertacijoje taip pat siekiama atskleisti miesto funkcijų struktūros, mutacijų ir transformacijų dėsningumus. Disertaciją sudaro įvadas, trys skyriai, išvados, naudotos literatūros ir autoriaus publikacijų disertacijos tema sąrašai bei priedai. Įvadiniame skyriuje pristatoma ir aptariama tiriamoji problema, darbo aktualumas, aprašomas tyrimų objektas, formuluojamas darbo tikslas ir uždaviniai, aprašoma tyrimų metodika, darbo mokslinis naujumas ir ginamieji teiginiai. Įvado pabaigoje pristatomos autorės paskelbtos publikacijos disertacijos tema recenzuojamuose leidiniuose, skaityti pranešimai konferencijose ir disertacijos struktūra. Pirmasis skyrius skirtas literatūros apžvalgai. Jame nagrinėjama urbanistinių mutacijų samprata. Šiame skyriuje... [toliau žr. visą tekstą]

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