Dissertations / Theses: 'History of Art ; Sculpture'

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Basnett, Brian David. "Brian Basnett's sculpture thesis." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1413285691.

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Currie, Morgan. "Sanctified Presence: Sculpture and Sainthood in Early Modern Italy." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:14226067.

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This dissertation examines the memorialization of dramatic action in seventeenth-century sculpture, and its implications for the representation of sanctity. Illusions of transformation and animation enhanced the human tendency to respond to three-dimensional images in interpersonal terms, vivifying the commemorative connotations that predominate in contemporary writing on the medium. The first chapter introduces the concept of seeming actuality, a juxtaposition of the affective appeal of real presence and the ideality of the classical statua that appeared in the work of Stefano Maderno, and was enlivened by Gianlorenzo Bernini into paradoxes of permanent instantaneity. This new mystical sculpture was mimetic, not because it depicted events narrated elsewhere, but imitated mutable, time-bound, spiritual activity with arresting immediacy in the here and now. No other form of image could so fully evoke the mingling of human immanence and divine transcendence that was the fundamental basis of sanctity. Chapters Two through Four closely analyze the sculptural construction hagiographic identities for Ludovica Albertoni, Alessandro Sauli, and John of the Cross, and their interplay with political, social, and religious factors. The discovery of connections between marble and wooden statuary further broadens our understanding of the expressive range of the medium. The homology between saintly and sculptural exemplarity reveals a far more dynamic, interactive, and rhetorical conception of the medium than is portrayed in early modern theoretical writings.

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Wright, Jeanne. "Colour and sculpture : an investigation into the use of two dimensional media in sculpture." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004783.

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From Introduction: Creative images which are normally called 'art' can be distinguished as either 'plastic' or visual. Both these forms throughout the history of art have relied to a greater or lesser degree on the use of colour. It is my intention to investigate specifically the changing role which colour has played in sculpture - the 'plastic' media of the visual arts and to chart the technical and aesthetic reasons for the use of colour. This investigation will encompass the historical perspective, the material qualities, aesthetic considerations, transitional codes and methods of approach in sociological frameworks and the examination of colour as a metaphysical element in the presentation of three dimensional media.

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Marx, Nadia Lares. "Images of Adam and Engagements with Antiquity in Romanesque and Gothic Sculpture." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493288.

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In the abundant literature on the afterlife of classical forms in the Middle Ages, medieval “classicism” has generally been understood as a series of stylistic borrowings and iconographic quotations, occurring as either isolated instances of individual genius or as the result of a momentary cultural flourishing—a “renascence” to use Erwin Panofsky’s term. This dissertation reconfigures this discourse on antiquity and the Middle Ages. It frames medieval classicism as a set of expressive possibilities that encode and transmit culturally contingent meaning, arguing that classical models were invoked selectively by artists, in concert with a range of other representational modes, in order to communicate complex messages to an audience sensitive to differences in style. Presented as a series of case studies, it examines three sculptural representations of Adam and the Creation narrative from the Romanesque and Gothic periods in Italy and France, considering them as key sites for medieval engagement with the art of antiquity. The evocation of antiquity, effected through material and formal assimilations of sculpted objects to ancient artifacts, functioned as a rhetorical device in Romanesque and Gothic sculpture, constructing frameworks of meaning around a given object. This dissertation examines the particular character and purpose of such evocations in images of Adam from the cathedral churches of Modena, Paris and Auxerre, offering new interpretations of three important monuments in the history of medieval sculpture, engaging with landmark studies in medieval classicism, and reconsidering attitudes towards the public display of nudity in the centuries preceding the Renaissance, the period when, it is generally accepted, it became a part of common artistic parlance.
History of Art and Architecture

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Heisler, Eva. "Reading as sculpture: Roni Horn and Emily Dickinson." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1109756723.

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Gotschalk, Kelly J. "The Seated Cleopatra in Nineteenth Century American Sculpture." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd/4350.

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This thesis explores Cleopatra as presented in the work of three nineteenth century American sculptors: Thomas Ridgeway Gould, Edmonia Lewis and William Wetmore Story. It illuminates their work in the context of the nineteenth century and within the history of Cleopatra's image. Victorian opinions of Cleopatra's nature are exposed by examining the Egyptian Queen in essays and literature of the period, including works by Anna Jameson, Emily Dickinson, Charlotte Bronte, Nathaniel Hawthorne and Theophile Gautier. By studying the role of Cleopatra in these literary examples, the notion of some recent scholars of Cleopatra as a feminist symbol is dispelled and a light shed on a deeper interpretation. Cleopatra's ethnicity is taken into consideration against the political climate of the United States before and after the Civil War. Eroticization of the female body through an association with the Orient is examined against the contemporaneous American Suffrage movement. The role that complexion and hair coloring has sometimes played in the temperament of female heroines is explored through the work of Edgar Allen Poe, Hawthorne and Gautier, as is the female "sexual monster" returned from the grave in the work of Bram Stoker and Poe. Strong willed women and their tendency towards "indirect suicide" is investigated through the writing of Edith Wharton, Kate Chopin and Henry James. These diverse factors and events are taken into account in order to reveal the significance of Cleopatra and her legendary sexuality and suicide to the Victorian artist and audience.

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Richards, Christopher. "Ed Mieczkowski's Contradictory Cues in Dimensionality in Painting and Sculpture." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1467906772.

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Bristow, Maxine. "Pragmatics of attachment and detachment : medium (un)specificity as material agency in contemporary art." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12033/.

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This research arises out of my situated experience and the subsequent indeterminate positioning of my practice in-between the traditional disciplinary fields of textiles and fine art. Through a body of studio enquiry and accompanying theoretical and reflective commentary, the research questions whether a practice and knowledge base that is historically grounded in the interrogation of medium specific conventions can continue to be viable within a post medium/ postmodern contemporary art context. Implicit within this are two further considerations concerning the relationship between aesthetic and extra-aesthetic contexts and the tensions between subjective and material agency that arise in negotiating these positions. Through a sculptural and installational practice I propose a constellatory opening up of textile in conjunction with other materials, in terms of material agency and ‘productive indeterminacy’, where boundaries become blurred, meaning is unable to settle and fundamental categorical divisions between subject and object are destabilised. The processual inter-relational model of ‘attachment/detachment’ is offered as a conceptual framework and overarching practice methodology that maintains these productive tensions and opens up a complexity through which the medium specific can be mapped in a fluid and fragmentary way. Three interdisciplinary concepts; ‘camouflage’ (Neal Leach/architecture), mimetic comportment (Theodor Adorno/philosophy) and ‘complicity’ (Johanna Drucker/contemporary art) provide theoretical models which allow for assimilation and differentiation and embodied adaptive behaviour. Drawing particular reference from Adorno’s notion of mimetic comportment, the research involves a mode of behaviour that actively opens up to alterity and returns authority to the indeterminacy of the aesthetic encounter in a way that overturns the centrality of the subject. This is manifest through a range of practice strategies - ‘thingness’, ‘staging’ and the confluence of ‘sensuous immediacy and corporeal containment’ - which forge connections where distinctions remain mutable and mobilise a productive tension between subjective attachment and detachment. The research takes the ‘affective turn’, and increasing interest in the agency of material across the arts, humanities and social sciences over the course of the last decade, as contexts which mark a shift away from concerns with signification and which focus instead on the corporeal intensities of material/matter. Acknowledging the critical currency afforded to textile in terms of signifying agency, the project is notable in placing an emphasis on materially embodied experience that privileges aesthetic artifice, complicit formalism and an ambiguous abstract sculptural language over more overt strategies of representation. The research offers a reinscription of medium specificity in terms of material agency, where contrary to modernist conceptions of self-contained aesthetic autonomy there is a simultaneous concern with the distinct material properties of the medium and what they do in the social world. The research reveals that it is the ontological condition of textile as simultaneously social and material that has paradoxically accounted for its historical cultural ambivalence and its cultural significance. Moreover, it demonstrates that it is the interweaving of the sensuous and semantic so effectively mobilised through textile that gives rise to its affective indeterminacy. This affords it agential capacity as a transformative sensuous mode of knowledge production and artistic medium where boundaries between subject and object are destabilised and aesthetic considerations can be continuous with an engagement with social, historical and cultural contexts.

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Grenier, Marlène. "Les artistes propagateurs de l'idéal allemand en art pictural et en sculpture au Canada au XIXe siècle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26215.pdf.

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Wescoat, Ruby. "The History of the World." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1177.

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This Thesis is my effort to understand what subjects I find interesting and why. In the processes of writing and making sculpture, I discovered that my underlying fascination is in history. I am interested in places and objects for their individual qualities, but I also want to know how they relate to the world. If I am drawn to an ancient place or object, I want to examine how it fits into the contemporary world, and visa versa. The complexity of these relationships is increased by the vast number of histories (or stories) that are intertwined in the world. Over the course of the thesis I write about my various influences, and the development of my work from undergraduate to graduate school. This progression has been from observation of natural world to a more complex questioning of how the world came to be what it is. I conclude by defining the direction in which I want my work to continue: directly along the border between myth and reality.

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Craren, Robin Pilch. "Veit Stoss/Wit Stwosz Contextualized within the Polish Tradition of Sculpture in the Late Fifteenth Century." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/199428.

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Art History
M.A.
Veit Stoss (ca. 1438/1447-1533), a contemporary of Albrecht Dürer (1471-1528), was one of the most prominent limewood sculptors of the late fifteenth-early sixteenth century in Central Europe. Stoss worked in Nuremberg for a majority of his career, commissioned by its leading patrician families to make various pieces of limewood sculpture for the city's churches. His work in Nuremberg was interrupted by a nearly twenty-year stay in Krakow, Poland, from 1477 until 1496, where he undertook two monumental sculptural projects that remain his earliest extant works today, the multi-winged altarpiece of the Dormition of the Virgin Mary (1477-1489) done in limewood and the red marble tomb effigy for King Casimir IV Jagiellon (1492). Previous scholarship on Stoss has focused on the commission of the Dormition of the Virgin Mary, but has ignored the importance of this work both within the artist's large artistic development and within the already existing tradition of wood sculpture in late-fifteenth-century Poland. What is more, many twentieth-century German and Polish art historians have mobilized Stoss's career anachronistically within modern nationalist frameworks to support their own political agendas, choosing to ignore the cosmopolitanism of Krakow's mixed population and the dynamic hybrid nature of his works' iconography and artistic style. This thesis seeks to move beyond the limiting and distorting lens of earlier nationalist agendas with the aim to restore Stoss to his historical context as an artist who borrowed stylistically from painting, prints, and sculpture, and who met the demands of diverse patrons, both in Germany and in Poland, by creating a dynamic hybridity of styles, local and foreign.
Temple University--Theses

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Lewis-Nash, Robert J. "Old Fields and New Fields: Ceramics and the Expanded Field of Sculpture." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin150695125608167.

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Atac, Mehmet Ali. "The standing female figure in its ancient Mediterranean context: an investigation into the origins and significance of the Kore type in Archaic Greek sculpture." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371827160.

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Dussuchalle, Jérôme. "Traversées : Dessin, sculpture et pratiques d'atelier." Phd thesis, Université Jean Monnet - Saint-Etienne, 2013. http://tel.archives-ouvertes.fr/tel-00996997.

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Si l'amorce d'une recherche engage son auteur dans un cheminement dont il ne connaît pas vraiment l'issue, le place d'emblée face à des inconnus et à des possibles, il faut bien se rendre à l'évidence : la fin du travail -annonçant peut-être le début d'un autre - nécessite un retour sur la pensée qui s'est déroulée selon une temporalité qui semble alors nous échapper. La durée d'une telle entreprise ne parvient pas à se cristalliser en un point dont on pourrait faire le tour. Le cheminement de pensée qui s'est donc déplié selon le cadre spatial et temporel imparti, selon la répartition des pages et la structure d'un ouvrage qui pourrait bien apparaître comme un autre type de carnet, doit être repris et reconduit selon d'autres stratégies. Conclure reviendrait, en effet, à extraire d'un matériau donné -ici l'écriture d'un texte- les points de capitons où la pensée se condense. Travail proche du dégagement du bloc en sculpture, travail encore de découvrement mais aussi et surtout travail de synthèse et d'ouverture. Précipitation d'un chemin de pensée sur ce qui définit ses limites, le tracé de son parcours, son bornage, ses jalons tout comme ses traverses.Cet acheminement vers l'écriture aura donc pris pour origine une situation de pratique plastique définie par deux instances d'appréhension du réel, deux modes d'existence de l'œuvre, le dessin d'une part, la sculpture de l'autre. Telle était la place attribuée aux termes posés dès l'origine de ce projet de recherche sur la sculpture et le dessin. Mais, à ce point conclusif de l'ouvrage, pourquoi ne pas intervertir les termes par lesquels s'est énoncée, dans un premier temps, cette thèse ? Nous pourrions ici avancer une position bien différente : la sculpture puis le dessin. Il paraît en effet artificiel de vouloir donner la primauté à l'un des deux médiums tant ils fonctionnent ensemble. Configuration qui diffère donc de celle annoncée en exergue de ce travail, puisque la réflexion menée sur l'articulation de ces deux " objets de pensée " peut nous amener à formuler une première remarque : les deux médiums ne sont pas à prendre dans leur successivité mais bien dans leur entrelacement réciproque. Ce qui ne signifie pas que le dessin se confonde avec la sculpture. L'inverse n'est pas moins vrai. C'est à leur conjonction et à leur croisée que se situe donc le cœur de la recherche et c'est là, sans doute, qu'est le point de bascule permettant de relancer l'expérience poïétique de l'un à l'autre. Ici est le nœud du problème, son site. La circularité, et donc une récupération perpétuelle du dessin dans la sculpture et de la sculpture par le dessin, travaille notre œuvre plastique en profondeur, elle en serait le soubassement. La sculpture relance le dessin qui à son tour relance la sculpture...

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Craske, Matthew Julian. "The London trade in monumental sculpture and the development of imagery of the family in funerary monuments of the period 1720-1760." Thesis, Queen Mary, University of London, 1992. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1894.

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The thesis is concerned with the use of family imagery in monumental sculpture commissioned from the major London workshops in the mid-eighteenth century. It explores the interaction of the many factors which dictated the way in which the family might be represented in monumental sculpture. The interests of the competing London workshops in producing images which established their fame and increased their profits are studied in conjunction with the interests of the patronage in furthering personal and family reputations. The thesis evaluates the contribution that work upon the social history of the eighteenth century family can make to our understanding of the development of monumental imagery. I investigate the many levels of problems associated with using an art form as a source of "data" in the formulation of social history and the potential of the analysis of artistic images to question, or confirm, the validity of theories of family history. The central objective is to enquire into the reasons why the London market in monumental sculpture thrived and expanded in the first half of the eighteenth century. Much of the analysis is directed at revealing the fundamental reasons which caused patrons to order monuments. Changes in furierary culture are measured in terms of the proportion of monuments commissioned to mark, for instance, the elevation of a family to the peerage, or a bereaved husband's grief for his wife. I conclude that the great majority of monumental sculpture commissioned from London workshops throughout the period was concerned with matters of inheritance and property; marking the end of dynasties, the gratitude of those inheriting land, and the establishment of new families upon country estates. The demand for images marking the transfer of property and the passage of titles and honours is shown to have dominated the sculpture market in the first two decades of the period and, despite a strong cultural reaction against formal dynastic sculpture in the 1740s and 50s, continued to have a commanding role in the success of the London workshops.

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Dekaeke, Marie. "La sculpture et l’intime en France (1865-1909)." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100061/document.

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La littérature et la peinture semblent être les domaines les plus propices au développement de l’intime au XIXe siècle. Pourtant, la notion possède aussi sa place dans le domaine de la sculpture qui, par des procédés qui lui sont propres, parvient à la révéler. Sujet le plus favorable à l’introspection, l’autoportrait, tel que le conçoivent Carriès ou Gauguin, demeure une expérience singulière qui ne se vérifie pas chez tous les sculpteurs. L’expression de l’intime est alors à chercher dans le portrait où l’artiste tend à faire surgir l’intériorité de son modèle à la manière de Carpeaux ou de Rodin. Les fondamentaux du dialogue entre intime et sculpture sont ainsi posés. La notion se définit aussi par sa polyvalence liée au contexte de commande et de réception, aux questions esthétiques de l’époque, au mystère de la création et, enfin, jusque dans ses limites. L’intime est une notion protéiforme qui peut aussi bien prendre sens sous un aspect iconographique que suivant les modalités de création d’une sculpture. Ce concept imprègne toute forme de sculpture s’exprimant aussi bien dans le portrait sculpté, que dans les petits groupes ou statuettes ou encore dans la statuaire monumentale. L’étude des œuvres de Claudel, Dalou ou Rosso nous a permis de comprendre que plus que d’un courant esthétique à part entière, il s’agit davantage d’une caractéristique qui permet de mieux les rassembler. L’intime apparaît donc comme un outil pour étudier la sculpture des années 1865 à 1909 sous un angle nouveau
Literature and painting seem to be the most favourable fields for the development of intimacy during the nineteenth century. The notion has, nevertheless, its place too in the field of sculpture which by processes of its own, manages to reveal it. Even though self-portraits, such as conceived by Carriès or Gauguin, are particularly suitable for introspection they remain a unique experience that does not apply to every sculptor. The expression of intimacy is then to be found in portraits where artists tend to bring out the interiority of their model, in the manner of Carpeaux and Rodin. The fundamentals of dialogue between intimacy and sculpture are thus laid down. The term is also defined by its versatility, in relation to the context of order and reception, to aesthetic issues of the time, to the mystery of creation and, finally, to its own limits. Intimacy is a protean concept that can take on its full meaning through a single iconographic aspect or modalities of creation of sculpture. This very concept permeates all forms of sculpture and is expressed in sculpted portraits as well as in small groups, statuettes, even monumental sculpture. Our study of works by Claudel, Dalou or Rosso allowed us to understand that more than an aesthetic current in its own right, intimacy is rather a distinctive feature that brings works together. Intimacy therefore appears as a tool to study the sculptural fields ranging from 1865 to 1909 from a new angle

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NIGHSWANDER, DANE E. "SILHOUETTE." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1302541679.

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Pluta, Larissa. "Face Value: An Iconographic Analysis of the Corbels of Chartres Cathedral." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/216674.

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Art History
M.A.
The numerous figurated corbels of Chartres Cathedral were inscribed with semiotic content. Works in this genre were formerly disregarded by researchers because of their perceived lack of meaning. Trends in modern scholarship have challenged this misconception, and recent technological innovations have facilitated the study of these objects. The category would be more appropriately termed "secondary" rather than" marginal," as the former offers a semantically unencumbered assessment of the role of these sculptures. Originally designed for the cathedral's twelfth-century western complex, the corbels were likely members of a series that encircled the entire perimeter of the building. The use of human and animal head motifs for their decoration exemplifies a pervasive historical practice in architectural sculpture. The preservation of the corbels in the Gothic reconstruction of the cathedral substantiates their significance to medieval viewers. Study of the surviving pieces is complicated by the loss of the contextual framework provided by the remainder of the series. The examination of material evidence indicates a record of artistic engagement with these works. Iconographic analysis of individual corbel images reveals both correspondences with the thematic context of the primary sculptural program and independent signification. This project is intended as a useful starting point for additional inquiry, as investigations of secondary sculpture at other sites may bring new insight to its manifestations at Chartres.
Temple University--Theses

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Deibel, Danielle Marie. "The Piazza della Signoria: The Visualization of Political Discourse through Sculpture." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent149298059548259.

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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.

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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.

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Mastbaum, Sara E. "“Systems Within Systems, Microcosms Within Microcosms”: The Sculpture of Lee Bontecou after 1980." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276999705.

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Cakpo, Érick. "Art chrétien en pays de mission : la sculpture d'inspiration chrétienne au Bénin, XVIIe-XXIe siècles." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAK011.

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Au cours de l’entre-deux-guerres, certains textes pontificaux, tels Maximum Illud (1919) de Benoît XV et Rerum Ecclesiae (1926) de Pie XI, ont marqué un tournant très important dans la réflexion missiologique, donnant non seulement une nouvelle impulsion aux missions elles-mêmes mais encore suscitant une nouvelle pratique de l’art chrétien dans les pays de mission. Après avoir été foncièrement européocentrique, la politique iconographique des missionnaires s’efforça désormais d’aboutir à la création d’un art sacré mieux adapté à l’imaginaire, aux langages d’images et aux sensibilités diverses des pays de mission. Forts de ces orientations et surtout encouragés par la prédisposition de l’art local à offrir à la pensée chrétienne de nobles formes d’expression, les missionnaires de la Société des Missions Africaines œuvrèrent activement pour l’émergence de l’art chrétien au Bénin. Les caractéristiques particulières que présente, dans ce pays, l’émergence de l’art chrétien et la richesse des collections d’objets de facture chrétienne par rapport à celles des autres pays d’Afrique méritaient qu’on leur consacre une recherche approfondie. Outre la constitution d’un corpus iconographique, la thèse propose la contextualisation des œuvres, l’examen de leurs diverses fonctions et l’analyse des paradigmes successifs répondant à la nouvelle perspective missiologique : l’inculturation
Papal texts such as Maximum Illud (1919) by Benedict XV or Rerum Ecclesiae (1926) by Pius XI show that the interwar period represented a watershed in missiological thought which gave a new impetus to missions. Hence a new strategy concerning Christian art in “mission countries” was adopted. Because it had beforehand been centred on Europe, the missionaries’ iconographical policy then consisted in creating a form of sacred art which fitted the various cultural characteristics of “mission countries” better. Armed with these tendencies and above all encouraged by the fact that local art could give noble expressions to Christian thought, the missionaries of “La Société des Missions Africaines” worked for the emergence of Christian art in Benin. Christian art in Benin is highly distinctive and the collections of this country boast a significant number of objects of Christian craftsmanship which deserve a thorough research work. Thus, as well as putting an iconographical corpus together, this thesis will describe the background of the works, examine their various functions, and analyse their successive paradigms which correspond to the new missiological perspective: inculturation

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Morford, Michael David. "CARVING FOR A FUTURE: BACCIO BANDINELLI SECURING MEDICI PATRONAGE THROUGH HIS MUTUALLY FULFILLING AND PROPAGANDISTIC “HERCULES AND CACUS”." Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1238622957.

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Thesis (Ph.D.)--Case Western Reserve University, 2009
Title from PDF (viewed on 30 July 2009) Department of Art History Includes abstract Includes bibliographical references Available online via the OhioLINK ETD Center

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Trouton, Lycia Danielle. "An intimate monument (re)-narrating 'the troubles' in Northern Ireland the Irish Linen Memorial 2001-2005 /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060517.113223/index.html.

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Gevart, Louis. "La sculpture et la terre : histoire artistique et sociale du jardin de sculpture en Europe (1901-1968)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100016.

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Établir que la sculpture et le jardin suivent une longue histoire commune relève du lieucommun. Au XXe siècle pourtant, le jardin de sculpture est devenu un espace porteur dansl’évolution des arts plastiques. Lieu intermédiaire entre la ville et le paysage, le jardin est un champ d’expérimentation formelle pour les artistes en même temps qu’une propositionmuséale ouverte. La première partie de l’étude porte sur le temps des prototypes (1901-1945),marqué par la diversité des pratiques : le plein air attire autant les sculpteurs questionnant leur rapport à la tradition et à la nature que les collectionneurs qui par leurs choix d’exposition posèrent les jalons d’une histoire de la sculpture en marche. Dans tous les cas, l’ancrage à la terre est fort. La deuxième partie traite de l’affirmation institutionnelle du jardin de sculpture dans la reconstruction (1945-1958). Réel ou imaginaire, le musée de sculpture en plein air est un champ où s’expriment les forces de la sculpture contemporaine et où s’affirment au public les questions sculpturales de l’avant-garde et où s’opère une mutation de la dialectique nature/(s)cul(p)ture. La troisième partie concerne les déplacements du jardin de sculpture (1958-1968) : de la nature à la ville dans une volonté des artistes d’investir pleinement l’espace public et d’acteurs culturels trouvant dans l’architecture un autre « en-dehors », mais aussi de la ville à la nature avec un retour à la terre de collectionneurs et directeurs de musées visionnaires concevant des espaces paysagers spécifiques, posant les prémices d’un art in situ dans le cadre institutionnel
It is generally accepted that sculpture and garden have shared a common history. Throughoutthe 20th century, however, the sculpture garden has become a strengthened space for theevolution of plastic arts. As an intermediate place between city and landscape, the garden isan experimental field both to the artists (in a formal sense) and to the museum (as an openspace). The first part of the dissertation deals with the time of prototypes (1901-1945) whenthe sculpture garden was characterized by its variety. Outdoors, sculptors have questionedtheir relation ton tradition and nature while collectors have put the first steps of a livinghistory of sculpture by their exhibition choices. By all means, their anchoring to the earthremained strong. The second part relates to the growing of the sculpture garden as culturalmodel during the Reconstruction (1945-1958). Whether real or ideal, the open-air sculpturemuseum then turns into a public theatre in which the forces of the contemporary sculpturefind their expression, particularly through the mutation of the nature/(s)cul(p)ture dialectic. At last, the third part deals with the sculpture garden shifts during the 60s (1958-1968). On the first hand, these shifts went from the landscape to the city: the artists would integrate moredirectly the urban space and the curators saw the architecture as another “outside”. On the second hand, they went from the city to the landscape: collectors and museum directors came back to the earth, conceiving specific landscapes for sculpture, laying the foundation of theexpression of an in situ art in the institutional framework

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Pickett, Donna M. "Bronze casting by the lost wax method employing mixed media." PDXScholar, 1987. https://pdxscholar.library.pdx.edu/open_access_etds/3465.

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Ambielli, Lauren. "Hidden Transgressions: Louise Bourgeois's Early Sculptural Self-Portraits." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/479.

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During her early career as a sculptor, the French artist Louise Bourgeois (1911-2010) experimented with various methods of representing the female body in a state of dismemberment or fragmentation. Despite the transgression latent within such sculptures, critics and scholars alike interpreted Bourgeois’s oeuvre from a psycho-biographical angle. In doing so, they suggested that her art was rooted in a personal—as opposed to political—consciousness. This thesis analyzes some of the reasons behind this common method of interpretation, looking specifically at the personal myth that Bourgeois promoted in order to gain acceptance in the art world. In addition, this work questions the ways in which the artist masked the gendered transgression in two sculptural self-portraits through unique adaptations to Modernist traditions.

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Dutillieux, Fanny. "La sculpture de l'Himachal Pradesh entre le VIIe et le XIVe siècle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040198/document.

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La sculpture d’Himachal Pradesh connaît entre le septième et le quatorzième siècle un grand développement, dû à un bouleversement des conditions religieuses et politiques en Inde du Nord. Des souverains locaux légitiment alors leur pouvoir sur les vallées qui constituent cet état montagneux du nord de l’Inde en utilisant, entre autres procédés, la construction de temples et la dédicace d’images. Ces dernières révèlent, par leur iconographie et par leur style, certaines des conditions historiques et politiques dans lesquelles elles ont été créées. Grâce à une observation des oeuvres, regroupées en quatre grands ensembles spatio-temporels, nous avons tenté, dans cette thèse, de mettre à jour les transferts d’influences artistiques à la fois entre l’Himachal et les régions voisines et en Himachal même. Cette observation nous a également permis de proposer des hypothèses sur l’histoire des dynasties locales et sur leurs pratiques religieuses
Changes in the political and religious situation in Northern India at the beginning of the medieval period caused new developments in the sculpture of Himachal Pradesh between the 7th and the 14th centuries. By using, among other means, the construction of temples and the consecration of images, local kings seeked to legitimize their power. Thus, the sculptures, through their iconography and their style, reveal some of the historical and political conditions in which they were created. By means of a strict observation of those works, classified in four groups by their localisation and datation, we tried, in this thesis, to distinguish some of the processes of artistic influences, between Himachal and neighboring regions, as well as in Himachal itself. This careful examination allowed us then to speculate about the history of local dynasties and about their religious practices

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Blackmer, Jessie. "Mice, Memory, and Medical history: A Personal Narrative." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314909047.

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Jesko, Alex. "Pyramid scheme." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6773.

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I was watching the tele the other night and a commercial came on exclaiming that scientists have found a way to translate waveforms into text to help the deaf. I realized at that moment; I am as much a scientist as I am an artist. In this regard, composition is deemed a scientific recipe. Ingredients such as conveying the rhythm of linguistic discoveries to further guide fragmented responses of memories. Analyzing frequencies emerging upon application of colors adjacent as well as finding the visual balance that coheres with a particular tempo as relating to sound and vibration to exploit the untold conversations between traditional means and contemporary constructions. There’s a sync button for everything we do, finding that button is the test. I do not confine myself as a scientist, tomorrow I may think I’m a surgeon. But only after I’ve exhausted every theory for my actions, after I’ve become synchronized within the realm of my creations, will I then be able to determine why I’ve governed myself to evolve with what it is that I am becoming.

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Brophy, Elizabeth Mary. "Royal sculpture in Egypt 300 BC - AD 220." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:590228be-3001-49b3-bf6c-137af08ac71c.

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The aim of this thesis is to approach Ptolemaic and Imperial royal sculpture in Egypt dating between 300 BC and AD 220 (the reigns of Ptolemy I and Caracalla) from a contextual point of view. To collect together the statuary items (recognised as statues, statue heads and fragments, and inscribed bases and plinths) that are identifiably royal and have a secure archaeological context, that is a secure find spot or a recoverable provenance, within Egypt. I then used this material, alongside other types of evidence such as textual sources and numismatic material, to consider the distribution, style, placement, and functions of the royal statues, and to answer the primary questions of where were these statues located? what was the relationship between statue, especially statue style, and placement? And what changes can be identified between Ptolemaic and Imperial royal sculpture? From analysis of the sculptural evidence, this thesis was able to create a catalogue of 103 entries composed of 157 statuary items, and use this to identify the different styles of royal statues that existed in Ptolemaic and Imperial Egypt and the primary spaces for the placement of such imagery, namely religious and urban space. The results of this thesis, based on the available evidence, was the identification of a division between sculptural style and context regarding the royal statues, with Egyptian-style material being placed in Egyptian contexts, Greek-style material in Greek, and Imperial-style statues associated with classical contexts. The functions of the statues appear to have also typically been closely related to statue style and placement. Many of the statues were often directly associated with their location, meaning they were an intrinsic part of the function and appearance of the context they occupied, as well as acting as representations of the monarchs. Primarily, the royal statues acted as a way to establish and maintain communication between different groups in Egypt.

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Gekosky, Sandra J. "Luca Della Robbia and his Tin-Glazed Terracotta Sculptures." Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1126821886.

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Sanders, Sophie. "SPIRITED PATTERN AND DECORATION IN CONTEMPORARY BLACK ATLANTIC ART." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238756.

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Art History
Ph.D.
This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth's environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.
Temple University--Theses

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Shannon, Lindsay Erin. "Monuments to the "New Woman": public art and female image-building in America, 1876-1940." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1749.

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From the late nineteenth-century until the outbreak of World War II, monuments were erected in large numbers across the United States. Critics referred to the phenomenon as "statue mania," because of the number and diversity of monuments appearing in cities across the country. Women's clubs and organizations were heavily involved in this monument culture, commissioning and raising funds for monuments to America's heroes. After the Woman's Building at the 1893 Chicago World's Columbian Exposition advanced the idea of a monument honoring women's work in civic space, organizations began to commission monuments to honor individual women. With few precedents to build on, both artists and patrons were challanged to create a visual language that could represent the work of real women, ideally. These monuments first followed the established form of the "hero statue," using historical figures to represent precedents for women's contemporary demands for the economic and social privileges of citizenship. Women became voters when the Nineteenth Amendment was ratified in 1920, but still lagged behind full economic and social equality. A brief period of experimentation in the 1920s attempted to create monuments representing the accomplishments of women's collective work, demanding recognition of the demographic at large as contributing members of the electorate. By the 1930s, "ideal" figures replaced individual identity in women's monuments, reflecting the demand to acknowledge the many women participating every day in reform work. Public monuments visually marked the narrative of women's reform work in civic space, supporting their patrons' ambition for autonomy and the rights of full citizenship in a democracy.

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Suchan, Thomas. "The eternally flourishing stronghold: an iconographic study of the Buddhist sculpture of the Fowan and related sites at Beishan, Dazu Ca. 892-1155." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054225952.

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Leoshko, Janice. "The Iconography of Buddhist Sculptures of the Pala and Sena Periods from Bodhgaya Volume I." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392309418.

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Thouvenin, Sandra Rose. "To Stop and Look: Richard Serra's Icelandic Sculpture Afangar and Related Notebook Drawings." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437651095.

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Linden, Berit. "Sorgen gestaltad : Om den svenska gravskulpturens konstnärer och beställare." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-368864.

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This study Shaped grief. On Swedish Tomb Sculpture’s Artists and Commissioners begins by contextualizing the field in question, the field of the tomb sculpture and the tomb sculptor, the burial sites and representations of death, the sculpture of that period, and especially the iconography of the sepulcher art, and the situation of the female sculptors. In the analysis chapter the bourgeois Gothenburg and Stockholm, and their relation to the arts, are contextualized. The analysis of the material is made by using the history of sepulchral art, gender theory and semiotics elaborated in art science, supplemented with critical discourse analysis, Bourdieu’s field theories, Veblen's consumption theory, intersectional and mentality-historical theories. The study addresses four questions. The first is about who the commissioners of tomb sculpture of the four chosen sculptors - Sigrid Blomberg, Charles Friberg, Carl Fagerberg and Alice Nordin - were. It is generally a wealthy, bourgeois ordering group and the commission is often made in the later part of life. With regard to a division in western and eastern Sweden, it is not surprising that the largest tomb monuments and their commissioners are located in bourgeois and liberal Gothenburg, a city with an international perspective. The court and nobility culture that existed in Stockholm and Mälardalen rested on the ancestors and their tomb monuments, including chapels. The second question is whether any of the involved clients are more prominent in the commission situation. In the few examples the study includes, wives, sometimes in widowhood, are prominent commissioners. The third question concerns whether the incentives for the commission of a tomb monument are documented. One family wishes to contribute to the "fine arts" finding a place at the Swedish cemeteries and to create an environment equal to cemeteries in southern Europe. Another family wants the tomb sculpture to be an adornment to the cemetery. The fourth question is about whether tomb sculptures are dealt within contemporary newspapers and journals, to indirectly reflect the position of the tomb sculpture in the artistic field. This sepulcher sculpture is noted in the contemporary press. But it should be seen against the background that public sculpture generally did not occur in the early 20th century and that a lively debate about cemeteries and tomb art is on the period’s agenda. It is usually in short terms that the tomb monuments are mentioned in the daily press. Especially the study's two male artists are described as not being followers of contemporary avant-garde art. All in all, the impression is that the tomb sculpture, despite the attention of the press, has a lower status. What concerns the gender perspective of the study, there are only two male commissioners who say they have an intention beyond the primary - to adorn the family tomb. In some cases, the possibility appears that when husbands pass away, widows take an active order position. With regard to preserved documentation about the commission process, there are more available information around the two female sculptors. Did the two male sculptors not correspond with their commissioners? Or have they for some reason not wanted to hand it down to posterity?

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Hedlin, Hayden Malin. "Out of Minimalism." Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3589.

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The dissertation involves a threefold investigation of sculpture. Firstly, the interpretations are focused on particular artworks by three British sculptors: Antony Gormley (b. 1950), Anish Kapoor (b. 1954), and Rachel Whiteread (b. 1963), respectively. The notion of applied minimalism is tentatively applied to their sculptures. A primary argument is that these works are idiomatically, thematically, and theoretically founded on the heritage of American Minimalism from the 1960s. The sculptures by these three artists are seen as readings and transformations in themselves of the Minimalist sculptural idiom. Secondly, the dissertation aims at an investigation of the notion of sculpture, which is explored as a discursive term, i.e. as a working notion. Therefore, each specific sculpture in the study is analysed in terms of the means it is manifested as such. Thirdly, interpretation per se is recognised as a performative act inscribed and restricted by specific contextual features. The constituent aspects are acknowledged and employed in terms of the white cube gallery locality, minimalist theory, sign theory, sculpture as staged, and the crucial recognition of a/the corporeal viewer's own presence and movements within the gallery space. Especially pertinent to the interpretations are Michael Fried's notion of theatricality, notions of performativity, and meaning as site-specific, respectively. The dissertation argues that the notion of sculpture, specifically in the wake of Minimal sculpture and the artworks inscribed by that category in art critical discourse, relies on the imperative of a corporeal acknowledged viewer/interpreter and that significant relations as regards the notion of sculpture are therefore external to a high degree.

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Sioc'Han, De Kersabiec Angélique. "Charles Van der Stappen, 1843-1910: un artiste-sculpteur de la fin de siècle et la renaissance de la sculpture en Belgique." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209498.

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À la fin du XIXe siècle, le sculpteur belge Charles Van der Stappen (1843-1910) est accueilli comme l’un des grands représentants de la sculpture aux expositions internationales de Paris, Amsterdam, Budapest, Dresde, Glasgow, Turin… ainsi qu’aux sécessions viennoises, berlinoises ou encore aux biennales de Venise. L’œuvre la plus connue de l’artiste, Le Sphinx mystérieux (buste chryséléphantin, Musées Royaux d’Art et d’Histoire, Bruxelles) est considéré comme une pièce phare de la sculpture symboliste et Art Nouveau. Pourtant, la production de l’artiste n’a jamais été étudiée dans son ensemble ni dans son évolution. Cette thèse se fixe donc comme objectif la redécouverte de l’œuvre de Van der Stappen en parallèle avec la réévaluation de son rôle dans l’évolution de la sculpture en Belgique au tournant de 1900. L’élaboration d’un catalogue raisonné reprenant ses statues, bustes, monuments, médailles et pièces d’art décoratifs, a été une première étape importante.

Au fil des critiques qui commentent son œuvre, Charles Van der Stappen apparaît comme l’un des initiateurs d’une « renaissance » des arts en Belgique. La récurrence de ce terme de renaissance appliqué à Van der Stappen, est importante dans la revue L’Art moderne, dès 1883, et dans plusieurs autres journaux et publications jusqu’à la mort de l’artiste en 1911. Le livre de Georges-Olivier Destrée portant le titre The Renaissance of Sculpture in Belgium (en 1895 et rééd. en 1905) présente ainsi en couverture une sculpture de l’artiste. Dès lors, cette affirmation de « renaissance », qui commença par la littérature pour s’étendre avec la génération de Van der Stappen à la sculpture et aux arts décoratifs, apparaît à la fois révélatrice et problématique. Révélatrice en ce qu’elle synthétise la volonté de renouveau du monde artistique belge dans le dernier quart du XIXe siècle, problématique quant à l’analyse du rôle du sculpteur Van der Stappen dans ce renouveau et quant aux sources et au sens de ce renouveau. Cette thèse se base sur l’idée que le renouveau artistique de la sculpture au tournant du XIXe et du XXe siècle en Belgique est porté par le concept de renaissance et ne peut être dissocié du modèle esthétique et intellectuel de la Renaissance comprise en tant que période historique. Le concept de renaissance se définie comme l’affirmation collective d’une volonté d’innovation dans de nombreux domaines, innovation basée sur la réactualisation d’un modèle du passé. En analysant la réception des modèles de la Renaissance sur l’évolution de l’œuvre et la carrière de Van der Stappen un découpage s’impose entre trois périodes :la redécouverte, l’émulation et la transformation créative.

La trajectoire spécifique de l’artiste, initialement nourrie de ses séjours en Italie qu’il entreprit dès 1873 et de sa participation à l’atelier Portaels, l’amène à se confronter à l’art de la Renaissance italienne, à sa littérature et à ses techniques. Cette comparaison avec le passé le guide, selon le modèle d’une « réversion », vers une recherche de spécificité nationale, une volonté de sortir des modèles académiques et des structures officielles ainsi que vers plus de naturalisme en sculpture. En ceci, Van der Stappen tient une place majeure dans le renouveau de cette époque car il se trouve au carrefour d’un réseau d’artistes et d’hommes influents cherchant de nouvelles voies pour l’art.

Cependant, Van der Stappen ne se laissa pas enfermer dans un mouvement néo-renaissance et réussit à puiser dans l’histoire de la Renaissance italienne le modèle même et les concepts d’un renouveau de la sculpture de style individuel en Belgique. Sa conception de la sculpture comme un art intellectuel, un art libéral, son ouverture à l’essor des arts décoratifs sont les bases d’un renouveau de la sculpture que Charles Van der Stappen met en place dès les années 1880 et qu’il enseigna dans son atelier et à l’Académie des Beaux-Arts de Bruxelles. Van der Stappen se fait dès lors artiste humaniste, puisant l’émulation dans les arts du passé, dans le décloisonnement entre beaux-arts, littérature et arts décoratifs. Au sein d’une nouvelle « République des Lettres », il pense la sculpture comme le « reflet d’une civilisation intellectuelle », selon son expression. Ses œuvres sculptées dialoguent dès lors avec les œuvres littéraires de ses amis Edmond Picard, Camille Lemonnier, Émile Verhaeren ou Stefan Zweig, avec l’art de Constantin Meunier ou Émile Claus et avec la musique de Vincent d’Indy, entre autres. L’instrumentalisation politique et artistique de la référence à une renaissance permet d’insérer Van der Stappen dans un vaste mouvement de renaissance des arts en Belgique qui commence par la rupture et par la voie d’une spécificité nationale :le naturalisme et l’idée.

Le renouvellement de la lecture de l’œuvre de Van der Stappen à l’aune de ce concept de renaissance explicite le passage subtil de ses œuvres du naturalisme au symbolisme. Sa technique basée sur la recherche du modelé plein, du volume étudié sous tous ses angles et du renouveau du relief, lui permet de créer des œuvres originales où la sculpture se fait composition symboliste de signes. Ainsi, nous avons abouti par nos recherches à une analyse inédite de la sculpture du Sphinx, œuvre majeure de l’artiste :depuis une figure issue du voyage de formation en Italie - La Florentine - jusqu’à la sculpture Art Nouveau, Le Sphinx mystérieux, ces bustes sont les variations de la représentation d’une seule et même idée. Les variations sculpturales de Van der Stappen sur le thème du sphinx s’imposent comme la représentation évolutive de l’inspiration, qui part de la tradition de la Renaissance et se déploie dans le mystère d’une représentation symboliste de la création artistique. Cette évolution constitue la contribution la plus originale de Van der Stappen à la sculpture du XIXe siècle. Ce même concept de renouveau est à confronter avec celui qui conduisit à l’éclosion de l’Art nouveau. La spécificité de l’œuvre de Charles Van der Stappen, est d’avoir surpassé les modèles de la Renaissance italienne et de l’humanisme en les adaptant à la société de son temps. Les deux derniers projets de monuments, au Travail et à l’Infinie Bonté, sont les exemples commentés de cette relecture renaissante. De nouveaux documents non analysés jusqu’ici et la mise en parallèle avec l’« art social » développé par Edmond Picard et avec la poésie d’Émile Verhaeren, permettent de donner une explication sur leur longue conception. L'étude des apports de Van der Stappen à l'art de son temps dans le contexte du Bruxelles fin de siècle, a servi à délimiter certaines caractéristiques du symbolisme sculptural qui tiennent pour cet artiste à un processus de synthèse :au niveau de la narration, il procède à une fusion des éléments symboliques, dans sa conception de la sculpture, il réunit l’art de la ligne avec celui du relief. Van der Stappen développe ainsi une sculpture du silence qui « parle » par ses propres moyens, ceux d’un déploiement de l’idée dans l’espace.

Via l’œuvre et l’enseignement de Van der Stappen, l’art de la sculpture, à partir des années 1890, s’est orienté vers un art plus personnel. L’étude directe de la nature, l’importance de la ligne dans la composition, la volonté d’instiller l’art dans tout, l’introspection des figures modelées, la représentation de l’idée selon des termes propres à la sculpture, sont les indices d’une recherche propre à Van der Stappen et plus largement d’une renaissance de la sculpture spécifique à la Belgique. La volonté de renouveau des arts à la fin du XIXe siècle et de l’intégration spécifique de la sculpture dans ce processus sont des clefs pour comprendre la sculpture de Van der Stappen et la replacer dans son temps. Van der Stappen reprend à son compte point par point la stratégie de l’artiste de la Renaissance pour s’affirmer dans son temps. Cette stratégie est tout autant individuelle que collective et c’est pourquoi nous avons souligné les liens réciproques entre le sculpteur et les personnages clefs de la fin de siècle à Bruxelles qu’étaient Edmond Picard, Octave Maus, Émile Verhaeren, Camille Lemonnier ou encore Constantin Meunier. Notre doctorat, consacré à l’œuvre de Van der Stappen, apporte donc de nouveaux éléments à l’étude des arts à la fin de siècle et souligne la place, auparavant sous-évaluée, de la sculpture dans la renaissance qui eut lieu dans le dernier quart du XIXe siècle en Belgique.

Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Neumuller, Nadège. "Varron et les beaux-arts : architecture, sculpture, peinture." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC047.

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La thèse de doctorat est consacrée aux aspects afférents à l’art dans l’œuvre de Marcus Terentius Varro, encyclopédiste romain du premier siècle avant notre ère. Son œuvre, en partie conservée, en partie réduite à l’état de fragments, a été transmise notamment par Pline l’Ancien, Aulu-Gelle et différents grammairiens romains. En guise de propédeutique, un développement sur un ouvrage de Varron, les 'Disciplinarum Libri', est proposé, situant les arts libéraux dans un cadre philosophique, suivi de la genèse de la critique d’art varronienne, remontant à Platon et Aristote ainsi qu’à Xénocrate d’Athènes. En parallèle, les conceptions artistiques de Cicéron, contemporain de Varron, sont présentées. S’ensuit une partie consacrée à l’architecture qui s’intéresse aux demeures des hommes, puis aux demeures des dieux. Un excursus se focalise sur la 'uilla' de Varron à Casinum ainsi que sur son tombeau. Dans la partie suivante sont présentés les regards du Réatin sur les sculpteurs grecs et hellénistiques, puis sur ceux de son temps, chacun faisant l’objet d’un développement particulier. La même approche est ensuite employée au sujet de la peinture, proposant des notices individuelles sur les peintres grecs et romains et offrant des prolongements par le biais de l’étude d’une Satire Ménippée particulièrement liée au sujet de la thèse ainsi que par l’analyse de l’œuvre qui a offert à Varron un terrain privilégié pour exprimer ses jugements de critique d’art : le 'De imaginibus'. Une ample synthèse conclusive expose les influences exercées par les opinions et les écrits d’un Varron aux goûts esthétiques marqués d’éclectisme, appréciant des œuvres du passé et du présent, figurant des dieux et des hommes, des paysages et des objets, avec toutefois une préférence marquée pour le classicisme et la tradition. Enfin, un développement final envisage la question de l’influence des écrits varroniens relatifs aux arts sur le classicisme augustéen ainsi que sur la politique de restauration conduite par le vainqueur d’Actium
This thesis is devoted to aspects related to art in the work of Marcus Terentius Varro, a Roman encyclopedist from the first century BCE. His work, partly preserved, partly reduced to fragments, was passed on namely by Pliny the Elder, Aulus Gellius, and various Roman grammarians. The first part will emphasize on one of Varro’s works, the 'Disciplinarum Libri', in order to situate liberal arts in a philosophical framework, and on the genesis of varronian art criticism, dating back to Plato and Aristotle as well as Xenocrates of Athens. In parallel the artistic concepts of Cicero, contemporary with Varro, are presented. This section is followed by one dedicated to architecture, relating to men’s dwellings, and the homes of the gods. An excursus focuses on the villa of Varro in Casinum and on his tomb. In the next section, the views of the Reatinian on Greek and Hellenistic sculptors as well as the ones of his era are presented, each being subject of a particular development. The same approach is then applied on painting, offering individual notes on the Greek and Roman painters. Extensions are brought through the study of a Menippean Satire which is particularly related to the topic of the thesis, and by the analysis of 'De imaginibus', the work which gave Varro a fertile ground for expressing judgments of art criticism. A thorough conclusive synthesis exposes the influences exerted by the opinions and writings of Varro, whose aesthetic tastes can be described as eclectic. He enjoyed the works of past and present, depicting gods and men, landscapes and objects, but kept a marked preference for classicism and tradition. A final development considers the question of the influence of art-related varronian writings on Augustan classicism, and considers the restoration policy led by the victor of Actium

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Schneider, Mary Emily. "Material Witness: Doris Salcedo's Practice as an Address on Political Violence through Materiality." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11285.

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Winter, Regina Beth 1945. "An integrative model for a discipline based feminist history of art." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276708.

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This thesis establishes guidelines and develops art historical instructional materials that answer requirements of discipline-based and feminist art education. Recent literature on the theoretical bases and curricular applications of DBAE,and feminist writings in art education and art history serve as conceptual sources for developing an integrative art historical model. This study applies this model to develop a variety of high school level instruction materials based on the lives of 19th century American neoclassical women sculptors. These materials contain biographies, sources of reproductions, and an analysis of these artists' particular positions as women, and as artists, in nineteenth century America. The last chapter provides information and suggestions for teachers on how to use the materials in a discipline based context. This kind of integrative approach can serve to broaden our understandings and experiences of the visual arts so that they are more truly representative of all humankind.

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Trimmer, Jason. "Iron Dialogue: The Artistic Collaboration of Pablo Picasso and Julio Gonzalez." Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1126898089.

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Gagnon, Louis. "Charlie Inupuk, étude sémiotique d'un cas en art inuit." Master's thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/33509.

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Ce mémoire est constitué de deux grands ensembles: premièrement, un regard synthétique sur le développement de l'art inuit contemporain depuis l'art nordique préhistorique, et deuxièmement une approche sémiotique de l'art de Charlie Inukpuk. Ainsi, dans notre premier volet nous avons voulu situer les multiples productions de l'art esquimau préhistorique jusqu'à l'avènement de l’art inuit contemporain dans une perspective historique basée sur des recherches archéologiques et historiques; notre objectif était alors de démontrer l'importance du phénomène transculturel entre l'art inuit contemporain et l'envahissante culture des Blancs. Par la suite, ceci nous a amené à aborder la question du primitivisme car, l'art inuit a trop souvent été qualifié "d'art primitif " comme si, pour différentes raisons, plusieurs auteurs avaient voulu conserver une intriguante saveur exotique à cette forme d’expression artistique non-occidentale. Cette première partie est suivie d'un portrait contextuel de l'art de Charlie Inukpuk, jeune sculpteur inuit qui vit à Inukjuak dans le Nunavik (Nouveau- Québec). L'art de Charlie Inukpuk nous sert ici de prétexte pour appliquer un modèle sémiotique d'analyse à une oeuvre d'art inuit. Cherchant délibérément à éviter les écueils d'une approche trop ethnologique de l'art inuit, le but ultime de nos travaux était de vérifier le degré d'efficacité d’une telle analyse sémiotique sur une forme d'expression artistique non-occidentale. Les résultats sont tels qu'il devient possible de croire que l'analyse sémiotique, même syntaxique, des sculptures inuit pourra grandement contribuer à une meilleure compréhension de l'art inuit et nous donnera un accès plus valable à ce phénomène artistique hybride résultant d'un croisement culturel entre les Euro-canadiens et les Inuit.
106412\u Résumé en anglais
106413\u Résumé en espagnol
Montréal Trigonix inc. 2018

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Jacob, Thierry. "Art et histoire : l'iconographie religieuse romane dans les églises du Forez et du Livradois : persitances pai͏̈ennes et pédagogie monastique aux XIe et XIIe siècles." Lyon 3, 2000. http://www.theses.fr/2000LYO31019.

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Si la région regroupant le Forez et le Livradois n'eut jamais d'existence politique (aujourd'hui département de la Loire et du Puy-de-Dôme), on constate qu'elle semble avoir possédé une identité humaine. En étudiant l'iconographie romane de ce secteur, on observe une ceertaine homogénéité des thèmes de sculpture persitantes. En effet, les thèmes proprement "chrétiens" y sont quasi inexistants, supplantés par ceux de traditions pai͏̈ennes. Ces sculptures se répartissent en trois groupes : les symboles protohistoriques et celtiques, gréco-romains et enfin orientaux. Il se pourrait que ces thèmes aient été utilisés à des fins pédagogiques. En effet, lorsque Robert de Turlande fonde la Chaise-Dieu au XIe s. , la région paraît être un "désert religieux". Rapidement, Robert reprend en main de nombreuses églises, y fondant chaque fois un prieuré, comme pour initier une réévangélisation de cet espace. Cette volonté contemporaine de la réforme lancée par Cluny semblerait s'être appuyée sur une thématique pai͏̈enne, surtout prothistorique ou celtique, fort répandue dans les églises casadéennes et leurs voisines. Notons que, lorsqu'un thème est sculpté dans la pierre, et non peint, c'est qu'il y a une volonté forte qu'il perdure parce qu'il est important. Or, c'est le cas de nombreux symboles solaires, de "divinités" pai͏̈ennes,. . . , apparaissant dans ces églises. Si les sujets traités par Robert et les cassadéens peuvent provenir d'un "répertoire", ils ont pu être adaptés aux lieux. Néanmoins, on retrouve des similitudes dans d'autres régions ou pays d'Europe, souvent, apparemment, dans des espaces christianisés ou rechristianisés tardivement. En fait, on peut se demander si, aux XIe et XIIe siècles, il n'y aurait pas eu dans les campagnes d'Occident une politique de rechristianisation s'appuyant sur une thématique pai͏̈enne réusitée dans l'art roman, et mise en place pour le Forez et le Livradois par St Robert?

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Williams, Emily. "Threads of Identity: Marisol's Exploration of Self." Honors in the Major Thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1566.

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Marisol Escobar, known in the 1960s as the "Latin Garbo," is a sculptor famous for showing with the Pop art greats. However, Marisol holds a curious position in art history, stranded between the formalism of the fifties' and sixties' male-dominated Pop movement and the conceptual experimentation and radicalism that followed. Trained as a draftsman and painter early in her career, Marisol's main body of work mostly consists of large-scale wooden and mixed-medium sculpture. Lesser known, her lithographs, drawings, collages and small figurines further prove her technical and artistic validity. Preferring to go by surname only, Marisol’s quiet yet intense observation pinpoints the overriding human elements present in the objects of her scrutiny. Most notable for turning her gaze inwards, her self-portraiture defies easy categorization. Meshing American art and non-Western art styles while bridging the gap between intellectual understanding and empathetic approachability, Marisol represents a unique perspective that remains relevant today. Marisol's approach to self-portraiture is, first and foremost, in service to the exploration of her own identity. Furthermore, her choice of subject matter, artistic methodology and style appear closely aligned with Postmodern discourse. Each period of her work from the 1950s to the present day includes different guises and methods that subtly critique societal roles and norms, all presented through the lens of the artist's acute wit. Internationalism, gender roles, and explorations of identity are inherent in each of her works, proving that Marisol deserves further examination to explore her relation to Postmodern thought.
B.A.
Bachelors
Arts and Humanities
Visual Arts and Design

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Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.

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En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritiers, critiques, journalistes, aussi bien qu’historiens professionnels, conservateurs et universitaires. Elle peut ainsi être envisagée autant comme le fruit d’une quête de la vérité factuelle que comme l’appropriation d’un objet d’étude populaire, à travers ses empreintes écrites et visuelles. L’appareillage des lectures de l’impressionnisme réunit de la sorte : les autographes ; les memorabilia, meubles ou immeubles chargés du souvenir des peintres ; les technologies photographique et cinématographique. Ces documents participaient en outre d’une culture visuelle plus vaste, incluant les monuments et les plaques commémoratives dans l’espace public, ou encore les motifs transformés par l’acte pictural en points de vue remarquables. L’étude historique et critique de l’écriture de l’histoire impressionniste comme (dé)monstration documentaire permet de revenir sur les circonstances sociales et visuelles de sa mise en œuvre, sur les enjeux de carrière auxquels elle participa, et sur les missions qui lui furent assignées au sein de différents discours sur l’art, savants et profanes
In 1946 the publication of John Rewald’s History of Impressionism in New York consecrated the aura of the movement’s scientific historiography, supported by documentary investment. This quality confronted laymen’s narratives, which oral tradition and some witness’s accounts’ reputations dominated. Yet, a close consideration could not agree with the assumption of an exclusive scholarly nature of the document. Since the beginning of the 20th century, varied producers, such as artists, witnesses, heirs, critics, journalists, as well as professional historians, museum curators and academics formed an impressionist documentation. It thus can be interpreted as a quest for factual truth, as much as an appropriation of a research object through its written and visual marks. The equipment of impressionist readings hence gathered are: autographs; memorabilia, movable and physical assets as souvenirs of artists; photographic and cinematographic technologies. Moreover, these documents fit into a broader visual culture which included monuments and commemorative plaques of the public sphere, or motives transformed by pictorial acts into remarkable viewpoints. A historical and critical study of such a writing of history as documentary (de)monstration allows here to look back to its execution’s social and visual contexts, the career issues in which it participated, the goals that had been assigned to it within both scholars’ and laymen’s art discourses

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Mercier, Géraldine. "Equipo 57. Un art expérimental collectif au service d’une transformation de la société, entre l’Espagne franquiste et l’Europe (1957-1966)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040200.

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Dans une Espagne étouffée par la dictature de Francisco Franco qui tente de réintégrer la scène artistique internationale en promouvant à l’étranger certains artistes abstraits informels, la position de collectif d’artistes abstraits géométriques Equipo 57 est singulière. Désireux de découvrir un monde libre et assoiffés de savoir, les jeunes artistes Juan Serrano, José Duarte, Agustín Ibarrola et Ángel Duart se rencontrent à Paris en 1957. Partageant les mêmes affinités pour l’art construit, les avant-gardes russes et la même volonté de rénovation de la vie culturelle espagnole, ils décident de former une équipe de travail et de discussion. De retour à Cordoue, rejoints par Juan Cuenca, les cinq membres du collectif élaborent la théorie de l’Interactivité de l’espace plastique qui sous-tend leurs créations, où l’individualité de chacun est gommée au profit de l’oeuvre collective. À la recherche d’un art qui puisse se réintégrer dans la vie quotidienne tout en questionnant la responsabilité de l’artiste, Equipo 57 emploie un langage rationnel et objectif qui s’exprime aussi bien dans le champ de la peinture, de la sculpture que du design. Il tente ainsi de conjuguer recherches formelles et engagement social. Cette première étude monographique en français propose d’analyser le parcours d’Equipo 57, depuis sa formation à Paris en 1957 jusqu’à dissolution officielle en 1966, en le confrontant au contexte socioculturel de l’Espagne franquiste et de l’Europe occidentale au tournant des années cinquante et soixante
In the 1950s, as Francisco Franco’s dictatorship tries to reintegrate its stifled country’s art scene onto the world stage by promoting certain Spanish abstract expressionists abroad, the position of Equipo 57, a collective of geometrical abstractionists, is unique. Eager to discover the free world, and thirsty for knowledge, the young artists Juan Serrano, José Duarte, Agustín Ibarrola and Ángel Duart meet in Paris in 1957. Sharing the same affinity for constructivist art and the Russian avant-garde, and united in their desire to renew Spanish cultural life, they decide to form a team of work and discussion. Upon their return to Cordoba, where they are joined by Juan Cuenca, the five members of the team elaborate a theory of the Interactivity of plastic space which guides their creation. The individuality of each member is thus erased for the good of the collective work. Aiming for an art that is able to enter into everyday life while questioning the responsibility of the artist, Equipo 57 uses a rational and objective language which takes form in painting, sculpture and design. They try to combine formal experiments as well as socio-political engagement. This premier monographic study in French aims to analyze the career of Equipo 57, from its inception in Paris in 1957 to its official dissolution in 1966. The group’s existence will be confronted with its sociocultural context in Franco’s Spain and Western Europe at the turn of the decade of the 1950s and 1960s

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Niskala, Marian. "Kvinnlig representation i offentlig skulptur : En receptionsestetisk studie med utgångspunkt i tre mellansvenska städer: Gävle, Uppsala och Västerås." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-454958.

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This essay explores public monuments and memorials raised in dedication to historic women in the Swedish cities of Uppsala, Gävle and Västerås. Through the reception aesthetic method, the chosen works of art are analysed from a gender perspective. The overall history of public sculpture in Sweden, including the female nude sculptures, is examined closely, where the monuments and memorials which have been raised in dedication to historic men are compared to those raised in dedication for historic women. The range of artworks vary from traditional monument to modern and postmodern aestethics. The importance of figurative representation is the main focus of this study, and the purpose is to convey how women are represented in the monuments spatial situation and how it varies from the male sculptural representation.

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Dissertations / Theses on the topic 'History of Art ; Sculpture'

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