Dissertations / Theses: 'Landscape Art History'

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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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Edwards, Leah. "History, identity, art: visually expressing Nicodemus, Kansas' identity." Kansas State University, 2014. http://hdl.handle.net/2097/17545.

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Master of Landscape Architecture
Department of Landscape Architecture
Mary Catherine (Katie) Kingery-Page
History is embedded in a landscape. History of a community is embedded in the landscape where land was inhabited, cultivated, and where people have and continue to thrive. Rural communities have this embedded history and culture to look back. However, these communities are suffering from loss of population, jobs, economic stability, and accessibility (Woods 2008). This phenomenon can destroy not only communities and peoples’ lives, but also the history and culture that is embedded in a landscape. Nicodemus, Kansas a rural communities with an important history. This history begins after the Civil War during times of new found freedom and the reality of independence for many former African-American slaves. The residents and descendants of Nicodemus are passionate and proud of their history and see their community identity as embedded in the history and culture. Nicodemus has experienced loss of population and economic vitality throughout its history. However, Nicodemans’ strong connection to the history remains intact. The study argues that art can provide a way of expressing Nicodemus, Kansas’s identity. This study is primarily an art-based investigation into what materials, mediums, and forms of art can best express the identity and history of Nicodemus, Kansas. Art-based research is less concerned with the discovery of truth than with the creation of meaning (Eisner 1981). “...[V]isual art is a significant source of information about the social world, including cultural aspects of social life” (Leavy 2009, 218). Research methods include historiography, literature review, oral history, reflexive critique and site visits, culminating in the creation of a series of mixed media artworks. Through the research and creation of artworks, the identity of Nicodemus, Kansas is expressed visually.

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Siercks, Elizabeth. "Elevating the wood engraved landscape| The work of Elbridge Kingsley." Thesis, The University of Wisconsin - Milwaukee, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1550218.

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This is a graduate thesis catalog exploring the work of 19th wood engraver Elbridge Kingsley. Kingsley's contemporary influences are traced using primary sources and visual analysis. Kingsley's stylistic tendencies, in both his original and interpretive engravings, are linked to other 19th century American artists. A brief discussion of the history of wood engraving and its technique are included as it relates to the evolution of Kingsley's style, as evidenced in his published work and his prints for collectors.

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White, Steven Robert. "A confluence of thinking: The influence of 20th century art history on American landscape architecture." Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.

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Since beginning my graduate studies in landscape architecture, I have encountered many situations in class in which references to art were used. I discovered a connection in the usage of the jargon of art in landscape architecture study. People, for the most part, do not know what landscape architects do or who we are. In this thesis I will make the case for aligning the profession of landscape architecture with the fine arts and humanities. An art history component in the curriculum and education and training of landscape architects would augment their design and presentation skills in the workplace. I have included the results of a survey questionnaire that I sent to 65 landscape architecture teaching faculty representing 38 landscape architecture programs in the United States. These individuals held either a Bachelor of Fine Arts degree, a Master of Fine Arts degree, or they had a scholarly research interest in art.

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Asadipour, Saeedeh. "5 Broken Cameras: Landscape, Trauma, and Witnessing." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459439752.

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Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.

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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.

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Marshall, Laura Delano. "The jeweled net, sacred landscape, and the vision of the heart." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3722634.

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For centuries Western sensibilities have been governed by an assumption that imagination is an exclusively human faculty, independent of the phenomenal world. This dissertation explores a view, long elaborated in mythologies and artistic traditions of pre-modern cultures, that phenomenal reality is the template of imagination, that terrestrial and celestial elemental forces are continuous with the mind, and that meaning in artistic practice is derived from a reciprocal exchange with the world in which we live.

This dissertation revives a traditional view of the heart as the seat of a continuous circulation of mind, imagination, and the world. In endeavoring to recover the eclipsed intelligence of the heart, this study argues that both the thought and perception of the heart are primarily metaphorical, which necessarily makes them essential in humanity’s unceasing exchange with the greater community of beings.

This dissertation demonstrates that imagination and artistic practice are inseparable from the environment, and that a study of pre-modern artistic traditions broadens an ecological understanding of the web of relationships between living beings and the environment that sustains them. Three traditions of painting disclose varying human orientations within the world: Navajo sandpainting, Chinese landscape painting, and Western European painting since the fourteenth century. Navajo sandpaintings are made at times when disorder and sickness prevail in order to restore balance in the relationship between the human community and primordial forces embodied in the landscape. Chinese landscape painting is a visual contemplation of the interwoven place of humanity within the perpetual change and transformation of heaven, earth, and sentient beings. Western painters in the fourteenth century departed from pre-modern approaches to painting when linear perspective was introduced as a way to fix a perception of the phenomenal world that was primarily optical, rather than visionary. The perception promoted by this method, based on an orientation that is both dualistic and literal, eventually ran its course, giving way to the introduction of more interactive approaches to artistic practice and perception by twenty-first century artists.

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Rackley, Elizabeth. "Hierarchial Compositions in Late-Eighteenth- and Early-Nineteenth-Century Landscape Art and Poetry." W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625823.

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Dean, Susannah. "Subsistence and Social Behavior: Evolving Strategies in the Rural New England Landscape." W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626202.

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Reece-Hughes, Shirley (Shirley Ellen). "Arthur Garfield Dove's landscape assemblages: a unique intersection of European modernism, American ideas, and nature-based abstraction." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc798472/.

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In the middle of his career, Arthur Garfield Dove created a smell yet novel body of landscape assemblages. They illustrate Dove's central interest in evoking nature--its motifs and rhythms--through imaginative associations of organic and man-made materials. These works represent Dove's synthesis of contemporary European stylistic and intellectual ideas as well as American philosophies and concerns. They also reflect the influence of Alfred Stieglitz and his circle and the artist Helen Torr, Dove's second wife. This study examines how Dove used a complex interplay of European theory and technique, American ideas and his own nature-based abstract style to create the landscape assemblages, works that are uniquely independent in the history of American art.

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Padula, Katherine M. "Re-Placing the Plantation Landscape at Yulee’s Margarita Plantation." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7072.

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U.S. Senator David Levy Yulee’s Margarita sugar plantation flourished from 1851 to 1864 in Homosassa, Citrus County, Florida. The plantation was abandoned in 1864 and memory of its precise location slowly faded, as the physical evidence of its existence deteriorated. Today, the only plantation structure known to be still standing is the sugar mill, preserved as part of the Yulee Sugar Mill Ruins Historic State Park (CI124B). The remainder of the plantation, including its boundaries, remains unknown. Perhaps at least partly owing to this absence, the mill’s interpretive signage provides an unfortunate univocal historical interpretation of the site and lacking in both acknowledgement and understanding of the experiences of the enslaved laborers who lived at Margarita. This thesis research uses archaeological reconnaissance survey and historical research in an attempt to locate the slave quarters in order to shed light on the power structures that existed between planter and enslaved laborer at Margarita. Shovel tests on state, county, and private land surrounding the mill identified two new archaeological sites, including possible remnants of an additional plantation structure, and ruled out for several locations as the site of the former slave quarters. Historical research uncovered additional information about the names of the enslaved laborers and provided more insight into their experiences on the plantation. This work culminates with suggestions for updated State Park interpretive signage, and suggestions for future work.

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Dryden, Garri Ann. "GIS scenic assessment: An exploration of landscape perception fundamentals to drive application towards theory." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/278525.

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The purpose of this research was to explore concepts and perceptions in the area of visual resource management via geographic information systems. A scenic assessment of Interstate 17 was conducted, then a digital database was built for a subset of the study area. Theoretical frameworks were explored and expanded. Review of the current literature resulted in a methodologically alternate conceptual model which utilized spatial analysis. After checking for issues of validity and accuracy, data visualization products were developed which aided in understanding the procedures and results. The results showed that given the readily available data an automated scenic assessment was not currently feasible.

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Cooledge, Dean R. "Beneath the urban landscape: Some versions of American pastoralism in urban literature, art, and film." Diss., The University of Arizona, 2002. http://hdl.handle.net/10150/280163.

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In this dissertation I explore the relationship between the city and the pastoral ideal in America. While not meant to be a comprehensive discussion of Urban Pastoralism, I want to focus my attention on the pastoral impulse one experiences within the city. Some versions of American Pastoralism emphasize the city as a complex wilderness, which creates within its inhabitants a pastoral impulse for a simpler mode (Golden Age) outside the boundaries of the city. However, the inability of the subject in art, literature, and film, to escape from the city forces the subject to seek a symbolic pastoral moment within the city. I will discuss three "texts" to demonstrate how this pastoral desire is manifested in the city. First I will discuss a selection of paintings by Edward Hopper. Hopper paints an ironic form of hortus conclusus in his paintings of this city, for his inhabitants appear trapped within the frame of the painting and longing for "something beyond the frame." I will demonstrate how Hopper's paintings present the possibility of a narrative through this irony. As viewers, our desire to impose order upon this chaos compels us to construct narratives for his paintings. This narrative desire is tied to the pastoral impulse which satisfies our need for order. Second, I will discuss John Updike's Rabbit, Run in which Harry pursues a point suspended in time. His pursuit of the Golden Age of his youth is compromised by the physical and geographical surroundings. Finally, Woody Allen's Manhattan shows a man in pursuit of the pastoral in terms of the meaning and purpose of art. Through his search for artistic integrity, Allen discovers the value of beauty as a symbol of the pastoral ideal.

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Chapman, Ellen Luisa. "Buried Beneath The River City: Investigating An Archaeological Landscape and its Community Value in Richmond, Virginia." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192695.

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Richmond, Virginia, located along the fall line of the James River, was an important political boundary during prehistory; was established as an English colonial town in 1737; and was a center of the interstate slave trade and the capitol of the Confederacy during the nineteenth century. Although Richmond holds a prominent place in the narrative of American and Virginia history, the city’s archaeological resources have received incredibly little attention or preservation advocacy. However, in the wake of a 2013 proposal to construct a baseball stadium in the heart of the city’s slave trading district, archaeological sensitivity and vulnerability became a political force that shaped conversations around the economic development proposal and contributed to its defeat. This dissertation employs archival research and archaeological ethnography to study the variable development of Richmond’s archaeological value as the outcome of significant racial politics, historic and present inequities, trends in academic and commercial archaeology, and an imperfect system of archaeological stewardship. This work also employs spatial sensitivity analysis and studies of archaeological policy to examine how the city’s newly emerging awareness of archaeology might improve investigation and interpretation of this significant urban archaeological resource. This research builds upon several bodies of scholarship: the study of urban heritage management and municipal archaeology; the concept of archaeological ethnography; and anthropological studies into how value should be defined and identified. It concludes that Richmond’s archaeological remains attract attention and perceived importance in part through their proximity and relation to other political and moral debates within the city, but that in some cases political interests ensnare archaeological meaning or inhibit interest in certain archaeological subjects. This analysis illuminates how archaeological materiality and the history of Richmond’s preservation movements has created an interest in using archaeological investigations as a tool for restorative justice to create a more equitable historic record. Additionally, it studies the complexity of improving American urban archaeological stewardship within a municipal system closely connected with city power structures.

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Carroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.

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The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships with the land in art, positioned the viewer at a commanding distance above and over the land, as seen in the post colonial panoramic tradition. In contrast, -The Coorong Series- explores a lived history with nature rather than the historical role of dominance. -The Coorong Series" explores a relationship of knowledge, understanding, and the experience of nature; through two parts. The first combines art and science in -The Coorong Specimen Series', to explore the facts and knowledge that science has provided about certain plants, birds and marine life from the Coorong. Inspiration has been derived from 19thC scientific illustrations and the lyrical prints of the Coorong by Australian Artist John Olsen. Part two explores the immersive experience of the iconic landscape in ???The Coorong Landscape Series" providing a relationship that seeks to understand the functionality of the location and to celebrate the unique beauty of this diverse region. Inspiration has been gained from the landscapes by l8th and 19th C artists John Constable and Claude Monet, along with landscapes by contemporary artists, John Walker and Mandy Martin. Through aesthetic notions such as scientific illustration, panoramic landscape, immersive scale, the collection of work, an expressionistic use of paint, and labeling of each piece like a museum display. -The Coorong landscape series" provides an exploration of a region that immerses the viewer in an experience of the location. The series portrays a relationship with nature through art that educates the viewer about The Coorong region. Connections are made between the land, birds, plants, fish, and human interaction; which results in an ecological consideration of the Coorong. Ultimately it is the educational experience that art provides allowing the viewer to explore a plethora of relationships within nature, and to explore how these relationships have changed or continue to exist within this era.

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Turner, Grace S. "An Allegory for Life: An 18th century African-influenced cemetery landscape, Nassau, Bahamas." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623360.

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I use W.E.B. Du Bois' reference to the worlds 'within and without the veil' as the narrative setting for presenting the case of an African-Bahamian urban cemetery in use from the early eighteenth century to the early twentieth century. I argue that people of African descent lived what Du Bois termed a 'double consciousness.' Thus, the ways in which they shaped and changed this cemetery landscape reflect the complexities of their lives. Since the material expressions of this cemetery landscape represent the cultural perspectives of the affiliated communities so changes in its maintenance constitute archaeologically visible evidence of this process. Evidence in this study includes analysis of human remains; the cultural preference for cemetery space near water; certain trees planted as a living grave site memorial; butchered animal remains as evidence of food offerings; and placement of personal dishes on top of graves.;Based on the manufacture dates for ceramic and glass containers African-derived cultural behavior was no longer practiced after the mid-nineteenth century even though the cemetery remained in use until the early twentieth century. I interpret this change as evidence of a conscious cultural decision by an African-Bahamian population in Nassau to move away from obviously African-derived expressions of cultural identity. I argue that the desire for social mobility motivated this change. Full emancipation was granted in the British Empire by 1838. People of African descent who wanted to take advantage of social opportunities had to give up public expressions of African-derived cultural identity in order to participate more fully and successfully in the dominant society.

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Brown, David Arthur. "An Enslaved Landscape: The Virginia Plantation at the End of the Seventeenth Century." W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539623632.

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Lewis Burwell II designed Fairfield plantation in Gloucester County to be the most sophisticated and successful architectural and agricultural effort in late seventeenth-century Virginia. He envisioned a physical framework with the intent to control the world around him so that he might profit from growing tobacco, while raising his family's status to the highest in the colony through the display of wealth and knowledge and the enslavement of both Africans and the natural surroundings. The landscape he envisioned contrasted with those of the enslaved Africans he purchased and put to work in the fields and buildings surrounding his '1694 brick manor house. These overlapping and often competing landscapes are visible in the surviving material culture, archaeological remains, and historic documents. Individuals created these landscapes from their personal experiences, a product of their constantly changing perspectives extending outward from themselves, their "way of seeing" tempered by a culture rooted in Senegambia, England, or Virginia. at a crucial period in Virginia history, perhaps the most significant period of plantation development prior to the Civil War, Lewis Burwell II's Fairfield plantation reflected the struggle between the co-dependent strains of agricultural expansion and racialized slavery. This dissertation attempts to explain how and why individuals created and manipulated these landscapes, how landscapes provided opportunities and constrained possibilities, defined interpersonal relationships, individual and group identities, and the relative success and failures of a society constantly confronted with a physical environment it could not wholly control. By studying past landscapes and how others used them to define and redefine their identities, it is possible to gain insight into our present condition, deepening an understanding of how our interactions with landscape define our own identity.

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Kowalczyk, Stephanie W. "Beyond the Painted Diary: Love, Loss, and Modernity in the Landscapes of John Singer Sargent." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470007149.

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Nucaro, Margaret Teresa 1954. "An examination of the relationship between landscape architecture and painting in England during the 18th and 19th centuries." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/291840.

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The unity of the arts has been acknowledged for centuries. It was during the 18th and 19th centuries in England that a new attitude toward nature and the development of the "picturesque" landscape aesthetic brought the two arts of landscape painting and design closer together. 17th century Italian landscape painting became associated with the informality and irregularity of nature, and became a source of inspiration for many landscape gardeners. The extent to which the landscape designers, William Kent, Capability Brown, and Humphrey Repton, were influenced by painting varied greatly. In turn the developing landscape design theory and aesthetic influenced many English landscape painters searching for a native style of their own, both in terms of subject matter and technique. The creation of the English landscape aesthetic was an extremely complicated one with ongoing influences resulting in constant changes and effects.

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Silberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.

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Kwok, Yin-ning, and 郭燕寧. "Concepts of realism and the reception of John Constable's landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39707301.

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Harwood, Jameson Michael. "An historical archaeological examination of a battlefield landscape: An Example from the American Civil War Battle of Wilson's Wharf, Charles City County, Virginia." W&M ScholarWorks, 2003. https://scholarworks.wm.edu/etd/1539626393.

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Pegram, Juliette. "Baudelaire and the Rival of Nature: the Conflict Between Art and Nature in French Landscape Painting." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/163974.

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Art History
M.A.
The rise of landscape painting as a dominant genre in nineteenth century France was closely tied to the ongoing debate between Art and Nature. This conflict permeates the writings of poet and art critic Charles Baudelaire. While Baudelaire scholarship has maintained the idea of the poet as a strict anti-naturalist and proponent of the artificial, this paper offers a revision of Baudelaire's relation to nature through a close reading across his critical and poetic texts. The Paris Salon reviews of 1845, 1846 and 1859, as well as Baudelaire's Journaux Intimes , Paradis Artificiels and two poems that deal directly with the subject of landscape, are examined. The aim of this essay is to provoke new insights into the poet's complex attitudes toward nature and the art of landscape painting in France during the middle years of the nineteenth century.
Temple University--Theses

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Suredam, Kelly M. "John Sloan and Stuart Davis in Gloucester: 1915-1918." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366383474.

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Cao, Maggie M. "Episodes at the End of Landscape: Hudson River School to American Modernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11535.

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This dissertation examines the dissolution of landscape painting as a major cultural project in the late nineteenth-century United States. As a genre aligned with the goals of nation building, landscape maintained a privileged artistic status for much of the nineteenth century. Yet as frontier development, land speculation, environmental change, and other factors slowly rendered its conventions meaningless, landscape became the site through which American artists most urgently sought to come to terms with the modern world. This argument is anchored by unorthodox artworks, from landscapes resembling banknotes to paintings made out of bird feathers—limit cases that allude to the failure of landscape in sustaining American cultural goals. Chapter One concerns Albert Bierstadt's aesthetic struggles in post-frontier America. During the 1890s, Bierstadt's anxieties about landscape surfaced in the particularities of objects that fold and unfold, from butterflies painted by chance to expanding railway cars—objects that might be considered the subconscious of a genre built upon expansionist ideology. Chapter Two argues that Martin Johnson Heade's tropical and marsh paintings of the 1870s and 1880s used “groundless” conditions to express cultural insecurities about traversable land and its representation. The pictorial blockages and interferences in Heade's paintings challenge both the compositional legibility espoused in the blockbuster canvases of his mentor and rival Frederic Church and the physical accessibility promised by the period's environmental interventions. Chapter Three proposes that Ralph Blakelock's nocturnes and money paintings—produced in the context of rampant land speculation, volatile art markets, and representational doubts surrounding paper currency—attempt but fail to overcome landscape's monetary entanglements. Blakelock's paintings theorize the value of labor and material accumulation in the increasingly abstract economic world of the last decades of the nineteenth century. Chapter Four reconsiders the trope of the "figure in the landscape" using Abbott Thayer's turn-of-the-century representations of animal camouflage. In these mixed-media artworks, Thayer's attempts to visualize invisibility demonstrate the ways in which camouflage proved irreconcilable with landscape's figure-ground principles. Together, these episodes trace pictorial attempts to resolve spatial problems arising with modernity, and in so doing, they signal a shift toward new paradigms of representation.
History of Art and Architecture

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Speerstra, Jane Ellen. "Landscape and change in three novels by Theodor Fontane." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3841.

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This thesis traces and explicates the changes in Theodor Fontane's landscape depiction in the years 1887- 1892. I examine his novels Cecile (1887), Irrungen, Wirrungen (1888), and unwiederbringlich (1892). I show that Fontane, as though discarding a relic of the Romantic past, used increasingly less landscape in his narratives. He focused on the actions and conversation of his characters, and on their immediate surroundings. When these surroundings were urban, they tended to disappear. The progressive minimalization of landscape, and of cityscape in particular, foreshadowed the appearance in German literature of twentieth-century man: man alienated from nature in cities, and less aware of empirically observable surroundings than of internal forces and realities.

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Hacker, Jonathan Joseph. "The Visual Creation of the State Apparatus, Nineteenth Century American Landscape Paintings." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556557056790917.

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Coetsee, Yda Cornelia. "Figuring from within : a study in history, painting and the work of Moses Tladi." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96974.

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Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: This study explores the significance of landscape painting in my own work and in the work of Moses Tladi, one of the lesser-known SA pioneer artists working in the oil painting convention. Through a Romantic lens, I argue that Tladi’s paintings exist as record of his experiences, thoughts and emotions, making use of a hermeneutics ‘from within’, rather than one aimed at Realist exposition. While employing such a hermeneutics in my own practice, I seek out points of connection between Tladi and myself, as well as explore if and to what degree our different socio-political circumstances shape our practices. In part one of the thesis I sketch a narrative backdrop to the era in which Tladi lived and of his relationship to his patrons, mentors and the establishment. I explore his work in relation to popular conventions at the time, matters of modernism and abstraction, as well as to some degree how the landscape genre functions in terms of class. The overall argument is divided in two parts, that of the metaphorical ‘Garden’ and that of the ‘Wilderness’. With this divide I aim to reveal how Tladi employs the transcendent both in the sublime expanse of Sekhukhuneland and in his domestic, everyday reality. The ideological relationship between the Garden and Wilderness is examined in terms of theories on landscape, imperialism and the Lutheran missionary project. In the second part I describe my own work and discuss the contribution it makes. While alluding to many of the devices already discussed in Tladi’s work, I sketch the context in which my own paintings were made and explain some of my stylistic and curatorial choices. In demonstrating how our techniques and methodologies overlap, I aim to cristallise some of the theoretical themes explored.
AFRIKAANSE OPSOMMING: Hierdie studie handel oor die belang van landskapskilder in my eie werk en in the werk van Moses Tladi, een van Suid-Afrika se minder bekende pionier-kunstenaars in die olieverftradisie. Ek argumenteer, deur ’n Romantiese blik, dat Tladi se werk as rekord verskyn van sy ervarings, gedagtes en emosies. In hierdie opsig is sy hermeneutiek ‘inwaarts’ gekeer, eerder as gefokus op die Realistiese ontbloting van sekere sosiale kwessies. Terwyl ek in my eie skilderpraktyk ook van so ’n hermeneutiek gebruik maak, soek ek raakpunte tussen my en Tladi se werk onderwyl ek ondersoek of, en tot watter mate, ons verskillende sosio-politiese omstandighede ons werk vorm. In Deel Een van die tesis skets ek ’n narratiewe agtergrond tot die era waarin Tladi geleef het en kyk na sy verhouding met sy beskermhere (“patrons”), sy mentors en die kunsstigting. Ek ondersoek Tladi se werk aan die hand van populêre konvensies van sy tyd sowel as kwessies van Modernisme en abstraksie. Ek kyk ook vlugtig na hoe die landskap-genre ten opsigte van sosiale stand funksioneer. My algehele argument het twee afdelings, die metafoor van die ‘Tuin’, en dié van die ‘Wildernis’. Met hierdie verdeling beoog ek om te wys hoe Tladi transendente aspekte voorstel in die uitgestrekte, ontsagwekkende landskappe van Sekhukhuneland, maar ook in sy alledaagse, sosiale realiteit. Die ideologiese verhouding tussen die Tuin en die Wildernis word verder ondersoek ten opsigte van teorieë oor landskap, imperialisme en die sendingpraktyke van die Lutherse Kerk. In Deel Twee beskryf ek my eie werk sowel as die bydrae wat dit maak. Ek beskryf die konteks waarin sommige van die skilderye gemaak is, bespreek hul inhoud, en kyk na spesifieke stilistiese en kuratoriale keuses. Deurentyd raak ek aan die tegnieke en temas wat alreeds bespreek is in die afdeling oor Tladi. Deur te demonstreer hoe my en Tladi se tegniek en metodologie oorvleuel, hoop ek om die teoretiese temas wat reeds ondersoek is, te kristalliseer.

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Roby, Ruth. "Imprint of a landscape a Yarrawa Brush story /." Access electronically, 2007. http://ro.uow.edu.au/theses/15.

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Tolentino, Felicia. "Porträtt av ett landskap : Vera Friséns gestaltning av naturen i Västerbotten." Doctoral thesis, Umeå University, Department of culture and media studies, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1622.

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The present dissertation deals with the artistry of the Swedish artist Vera Frisén (1910-1990). The emphasis is being put on her landscape paintings from Västerbotten, in the northern parts of Sweden, but also includes self-portraits from her early years as a painter. Vera Frisén was born in Umeå, but lived more than half her life in Stockholm. During springtime and summer, she did however return to Västerbotten and the vil¬lages of Stöcksjö and Kolksele, where she painted the majority of her landscape paintings.

The study has been given a chronological frame, where the first part sketches out the contexts and environments that came to have an influence on Vera Frisén and her artistic development. Consequently, the thesis starts with a brief biographical presen¬tation, but then moves forward to issues more central to the subject. Important as¬pects are for example her years as a student in the art academy of Otte Sköld in Stockholm during the late 1920’s, and her first separate exhibition at the gallery Färg & Form in 1941. Other issues that are being illuminated in the study are the artistic and cultural conditions in Vera Friséns hometown Umeå. The discussion mainly cen¬ters on issues that took place during the 1930’s and the 1940’s – the time when Vera Frisén established herself as an artist.

The second part of the dissertation includes analyses of Vera Friséns paintings. In the search of concepts that further can explain the more profound existential values in her work, the study also links the themes in her paintings to other painters in the his¬tory of landscape painting. Concepts central for discussion are for example the aes¬tethical and philosophical issue of the sublime, as it is formulated in the discourse of Immanuel Kant during the late 18th century. Thoughts expressed by other artists, writers and philosophers, linked to Vera Friséns own thoughts on the subject, are also valuable instruments in gaining a deeper understanding of her work.

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Robinson, Stuart T. "Essences of Charleston: The Tropical Landscape Paintings of Louis Remy Mignot, 1857-1859." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283366290.

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Conboy, Matthew L. "Mapping the Cultural Landscape: A Rephotographic Survey of W. Eugene Smith's Pittsburgh Project." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1427825071.

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Crouch, Rachael M. "Rhetoric and Redress: Edward Hopper's Adaptation of the American Sublime." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1186602058.

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Wang, Han-Chih. "The Profane and Profound: American Road Photography from 1930 to the Present." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.

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Art History
Ph.D.
This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.
Temple University--Theses

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Bertram, Aldous Colin Ricardo. "Chinese influence on English garden design and architecture between 1700 and 1860." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610795.

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Bouchard, Sara. "Singing the Landscape: A Meditation on Song, Sound and Community at the Fall Line of the James River." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5916.

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I work in the medium of song. A multidisciplinary artist and composer, I make work that is immersive, time-based and often participatory. I interact with landscape and the complexities of American history, bringing into focus local ecologies through the lens of song. This document accompanies my thesis performance The Sound of a Stone, an immersive exploration of song, language, ecology and locational listening performed in a 4-channel surround format. In the semi-improvised composition, I sample live vocals, mandolin and found natural objects in a combination of roots music traditions and experimental techniques. Utilizing the software Ableton Live to process and layer the samples in real time, I build a series of "songscapes" which connect to a specific site: the fall line of the James River. The Sound of a Stone premiered April 8, 2019 at Sonia Vlahcevic Concert Hall, W. E. Singleton Center for the Performing Arts, Virginia Commonwealth University, Richmond, Virginia.

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Schieffer, Adam M. "Archaeological Site Distribution in the Apalachicola/Lower Chattahoochee River Valley of Northwest Florida, Southwest Georgia, and Southeast Alabama." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4576.

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This research examines and compares the distributions of archaeological sites and materials in order to investigate native settlement patterns and resources use throughout 12,000 years of prehistory and protohistoric time within the Apalachicola/Lower Chattahoochee River valley of northwest Florida, southwest Georgia, and southeast Alabama. Geographic Information Systems (GIS) are used to map the distributions of sites from different time periods and to explore their relation to various environmental characteristics that are now available in digital format. I employ tools now available in GIS to examine several longstanding research questions and expand upon archaeological interpretations within this region, where the University of South Florida (USF) has an ongoing research program. The results of this work illustrate change through time and space as cultures begin to adapt to post-Pleistocene ecological change, develop food production and complex societies, and react to the appearance of European groups.

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Tricarico, Anthony Richard. "Environmental Legacies of Pre-Contact and Historic Land Use in Antigua, West Indies." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7975.

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Hurricanes Irma and Maria have recently demonstrated once again the susceptibility of contemporary populations across the Caribbean to climate-driven events. For islands such as Antigua in the eastern Caribbean, this vulnerability is partly a legacy of prior land use. As such, the actions of pre-Contact and historic period inhabitants are intertwined with contemporary socio-ecological challenges faced by Antiguans today. This research sought to understand the relationship between land use and land degradation from ca. AD 100 to the present in eastern Antigua utilizing two markers of anthropic activity: soil stability and soil quality. Specifically, this research sought to examine how past anthropogenic actions have shaped landscape dynamics across two regions (Ayer’s Creek Basin and Indian Creek Basin), where archaeological research has revealed a long-term, continuous sequence of occupation dating back 2,000 years. Prior research suggests that contemporary environmental challenges in both regions may be linked to prior land management practices. However, it is unknown to what extent historical land use and its interactions with local geomorphology account for these challenges. The main research question was: In what ways and to what extent has past land use (as recorded archaeologically) impacted the landscape (as recorded by soil stability and soil quality) in the Ayer’s Creek and Indian Creek Basins in eastern Antigua? This research determined that contemporary soil erosion and soil quality loss may be attributed to historic land management practices, but mitigating these challenges is impeded by local perceptions of soil health.

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Hageman, Carolyn A. "The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386083716.

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40

van, Strien David Samuel. "American Electric Power: Surface, Model, & Text." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492199443310933.

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41

Heitz, Kaily A. "Making the Desert Bloom: Landscape Photography and Identity in the Owens Valley American West." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/pitzer_theses/50.

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This thesis analyzes the way in which landscape photography has historically been used as a colonialist tool to perpetuate narratives of control over the American West during the mid to late 1800s. I use this framework to interrogate how these visual narratives enforced ideas about American identity and whiteness relative to power over the landscape, indigenous people and the Japanese-Americans imprisoned at Manzanar within Owens Valley, California. I argue that because photographic representation is controlled by colonist powers, images of people within the American West reinforce imperialist rhetoric that positions whiteness in control of the land; thus, white settlers used this narrative to justify their stagnating agricultural development in the Owens Valley, Native Americans were documented as a part of the landscape to be controlled, and the internees at Manzanar were portrayed such that Japanese culture was obscured in favor of assimilationist, Americanizing tropes of their status as new pioneers on the American Frontier.

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42

Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.

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43

Tomé, Aline Viana. "As representações da cidade do Rio de Janeiro na obra de Eliseu D’Angelo Visconti (1866-1944)." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/3641.

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Este trabalho discute o conjunto da produção paisagística de Eliseu D’Angelo Visconti, (1866-1944) que enfoca a cidade do Rio de Janeiro entre os anos de 1887 e 1944. Essas paisagens são reveladoras das inúmeras mudanças vivenciadas na capital da República no entre séculos 19/20. Dessa forma, entendemos que o presente trabalho discorre sobre a transformação. Seja ela relativa à remodelação da cidade no início do século XX, da reforma da Academia Imperial de Belas Artes em Escola Nacional de Belas Artes, ou, em âmbito nacional, com a passagem do regime imperial ao Brasil República. Assim, consideramos ser Visconti um artista-espectador privilegiado, que vai registrando em suas obras essas metamorfoses, vivenciando o Rio de Janeiro e o fazer pictórico em sua busca por modernização, palavra tão cara ao momento. Destarte, objetiva-se a compreensão da temática das paisagens urbanas realizadas pelo artista e de como o mesmo as empreende. Procuramos comparar as representações efetuadas pelo pintor com a produção de outros artistas, verificando, além dos pontos de contato existentes entre essas obras, a tradição pictórica que subsiste nas mesmas. Buscamos refletir sobre o propósito da representação da paisagem, indo além da experimentação plástica, visando entender as escolhas de Visconti ao realizar telas de motivos tão próximos à sua vivência. De maneira secundária, procuramos ponderar sobre o papel de lugares de memória existente nas paisagens produzidas no contexto em questão, como formadoras de uma visualidade da capital republicana em seus primórdios.
This work discusses the group of scenic productions by Eliseu D’Angelo Visconti (18661944), which focuses on the city of Rio de Janeiro between 1887 and 1944. These landscapes reveal innumerous changes that has taken place in the capital of the Republic during de XIX and XX centuries. Therefore, we think the present work speaks of the transformation, be it relative to the remodeling of the city at the beginning of the XX century, to the name change from Imperial School of Fine Arts to National School of Fine Arts, or in the national range, to the regime change from monarchy to republic. Thus, we consider Visconti to be a privileged artist/spectator, whose works register this metamorphosis, experiencing Rio de Janeiro and the pictorial craft in the city’s seek for modernization, a cherished word at the time. At first, the goal is to understand the thematic of the urban landscapes pictured by the artist and how he sees them. We intend to compare the representations made by the painter to the production from other artists, verifying, besides the common points among these works, the pictorial tradition present on them. We intend to reflect upon the purpose of the landscape presentation, going beyond the plastic experimentation, aiming to understand Visconti’s choices when painting canvases of themes that were so close to his experience. Secondly, we intend to ponder about the role of existing memory in the landscapes produced in the context at issue, as constructors of a visuality of the republican capital in its first years.

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44

Lawrence, Victoria Abigail Kennedy. "Studying Socioeconomic Trends through Cemetery Sales Records: A Case Study of Greenwood Cemetery, Orlando, Florida." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4122.

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Cemeteries are microcosms of society bound together in sacred spaces. As manifestations of social mores, cemeteries allow anthropologists to obtain information on social development and structure. Where noninvasive study is mandated, crucial methods of interpretation include studies of landscape design, floral incorporation, grave marker design and development, and grave mementos. This thesis discusses these and other methods as they are used to infer group mores. It also indicates how information acquired from methods can be adversely affected by outside influences, such as vandalism, weathering, and replotting. This thesis adds to known methods of cemetery research another unbiased, noninvasive tool that is the analyses of public cemetery sales records of a known society's municipal cemetery, Greenwood Cemetery of Orlando, Florida. Greenwood Cemetery opened at approximately the same time as the founding of its host city, Orlando, Florida. All burial and plot ownership, regardless of the social status of the owner, are publicly accessible in accordance with the requirements of the Florida Sunshine law. As the city and the cemetery followed parallel development, socioeconomic trends affected the city and the cemetery in a similar manner. Using public records dating from 1890 to 2010, a random survey was conducted that acquired sale dates, death dates, prices, numbers of plots purchased, and types of plots purchased. Using SPSS, the acquired information was statistically analyzed for correlations to known historic moments such as The Great Depression and the Florida Land Boom. Comparisons of data revealed fluctuations in the time between purchase and death: a decreasing length of time, an increasing length of time, and a repeated decreasing of time. The survey of the prices of plots revealed a positive correlation over time, indicating uniformity. A strong shift from the purchase of full body plots to cremation plots over time was evident, which was interpreted as a reflection of a shift in religious and social mores. Additionally, the study showed a significant increase in the percentage of purchased plots used. An ANOVA reveals that replotting is not significant enough to affect interpretation of cultural mores manifested in landscape design and spatial usage. While the results lend themselves to more questions and study, the analyses of cemetery sale records demonstrates its vitality as an unbiased, noninvasive, publicly accessible instrument. The analyses of sales records will also enable cross cultural comparisons.

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45

Schalk, Ashley C. "The Sketcher: Reverend John Eagles, His Poetical Shelter from the World and the 1812 Collection." Digital Commons @ Butler University, 2015. http://digitalcommons.butler.edu/grtheses/410.

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...Since identifying Eagles as at least one of the artists of the 1812 Collection, I have discovered that his specific tour of the Lakes, the route he followed and the scenery conveyed in his images, deviated from the conventional tours in that Eagles was in search of what he regarded as a poetical landscape rather than a traditionally picturesque one. In other words, Eagles sought to capture more than an aesthetically pleasing scene as a picturesque image would, he endeavored to capture the soul of the scene and the 1812 Collection is evidence that Eagles practiced the artistic principles he so often espoused. As such, the 1812 Collection offers further implications for Eagles's body of work, his aesthetic, and his strong criticisms of the changes he witnessed in landscape art during his lifetime. In this essay, I therefore propose demonstrate not only how the 1812 Collection is in critical conversation with the picturesque tradition, but also how Eagles's sketches, like his writings and criticisms, expressed his own guiding aesthetic on discovering the poetry of nature instead of a strictly picturesque aesthetic. In doing so, I hope to restore Eagles's reputation as an artist and art critic as well as reveal the historical importance of the recently rediscovered 1812 Collection.

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46

O'sullivan, Rebecca Claire. "Out of the Land of Forgetfulness: Archaeological Investigations at Bulow Plantation (8FL7), Flagler County, Florida." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4189.

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Developed in the early 1800's, Bulow Plantation is a prime example of the thriving sugar industry of East Florida prior to the Second Seminole War. Additionally, the layout of the slave cabins at Bulow Plantation in an arc centered on the main house is unique in Florida except for Kingsley Plantation near Jacksonville, FL. Despite its importance and the paucity of information available about even basic questions regarding life at Bulow Plantation, relatively little in the way of archaeological work has been done at the site. Using historical research and non-destructive archaeological techniques such as pedestrian survey, aerial LiDAR (Light Detection and Ranging), and remote sensing completed as part of recent work by the Alliance for Integrated Spatial Technologies (AIST) (Collins and Doering 2009a; Collins et al 2010) this work examines not only the material landscape of Bulow Plantation but also the social and cognitive landscapes that might have shaped life for both enslaver and enslaved. Using data collected as part of AIST's larger project (Collins et al 2010) an analysis of the pedestrian survey data, as well as a Digital Elevation Model (DEM) created from aerial LiDAR data, revealed the locations of several previously unrecorded slave cabins as well as some large scale landscape features. Although there are three competing theories as to why the Bulow slave cabins were arranged in an arc, without subsurface archaeology it is impossible to endorse one interpretation over another. While the analysis of landscapes generally privileges the view of those in power, suggestions for future archaeological work are made so that the voices of those who were enslaved at Bulow Plantation can begin to be heard.

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47

Brandt, Nicola. "Emerging landscapes : memory, trauma and its afterimage in post-apartheid Namibia and South Africa." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:9dfe7938-670a-40fc-a063-5617c0503fcd.

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Visual records of place remain to a large degree inadequate when attempting to make visible the ephemeral states of consciousness that underlie the damage wrought by brutal regimes, let alone make visible the extraordinary histories and power structures encoded in images and views. This practice-led dissertation examines an emerging critical landscape genre in post-apartheid South Africa and Namibia, and its relationship to specific themes such as identity, belonging, trauma and memory. The landscape genre was traditionally considered inadequate to use in expressions of resistance under apartheid, particularly in the socially conscious and reformist discourse of South African documentary photography. I argue that, as a result of historical and cultural shifts after the demise of apartheid in 1994, a shift in aesthetic and subject matter has occurred, one that has led to a more rigorous and interventionist engagement with the landscape genre. I demonstrate how, after 1994, photographers of the long-established documentary tradition, which was meant to record 'what is there' in a sharp, clear, legible and impartial manner, would continue to draw on devices of the documentary aesthetic, but in a more idiosyncratic way. I show how these post-apartheid, documentary landscapes both disrupt and complicate the conventional expectations involved in converting visual fields into knowledge. I further investigate, through my own experimental documentary work, the ideologically fraught aspects of landscape representation with their links to Calvinist and German Romantic aesthetics. I appropriate and disrupt certain tropes still prevalent in popular landscape depictions. I do this in an effort to reveal the complex and troubled relationship that these traditions share with issues of willed historical amnesia and recognition in contemporary Namibia. Through my practice and the examination of other photographers' and artists' work, this project aims to further a self-reflective and critical approach to the genre of landscape and issues of identity in post-apartheid South Africa and Namibia.

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48

Shasore, Neal Ethan. "Architecture and the public in interwar Britain." Thesis, University of Oxford, 2016. http://ora.ox.ac.uk/objects/uuid:37b6f51a-8b0e-4e29-96d5-ba478251913b.

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This thesis explores how the practice and profession of architecture was increasingly understood and discussed in terms of the public in the first half of the twentieth century through six case studies. In the age of universal suffrage, architects began to recognise that, in order for the profession to flourish, the built environment would have to respond to the demands of public opinion and publicity, and that design would need to appeal to the 'man in the street' if the profession was to establish its position in the new culture of democracy. 'Architecture and the Public in Interwar Britain' thus challenges the view that the mainstream of interwar British architecture was parochial and backward looking, and seeks to reintegrate the stories of many well-known but academically neglected projects and controversies into twentieth century architectural history, which remains dominated by attempts to nuance the privileged narrative of the growth and 'triumph' of Modernism and the International Style. Instead, I argue that architecture is better conceived as a broad discourse involving a number of agents of diverse positions and attitudes struggling with common critical and professional challenges. The first section of the thesis considers architecture in the Imperial Metropolis. After offering a re-reading of 66 Portland Place, the headquarters of the RIBA, through the lens of professional anxieties in the interwar years, it considers two controversial rebuilding projects: Regent Street and Waterloo Bridge. The thesis then considers architecture and publicity in the suburbs, offering close readings of factories along the new arterial roads out of London, in particular the Guinness Brewery and Gillette Factory amongst others. The final section of the thesis unpicks the idea of the civic centre in interwar Britain through the contrasting examples of Southampton Civic Centre and lastly Norwich City Hall.

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49

Sivilich, Michelle Diane. "Measuring the Adaptation of Military Response During the Second Seminole War Florida (1835-1842): KOCOA and The Role of a West Point Military Academy Education." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5309.

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Conflict archaeology is a fairly new discipline and is in the process of defining its methods and theories. Recently, the American Battlefield Protection Program has started requiring that grant applicants perform a KOCOA analysis. KOCOA is a modern military technique and stands for Key terrain, Obstacle, Cover and Concealment, Observation, and Avenues of Approach. However, this method was developed for modern warfare, and its adoption by the archaeological community has not yet been analyzed. I argue that this method needs a few modifications to make it more applicable to historical research and that it can be broadened to investigate more complex questions regarding decision-making processes. In its current form, KOCOA only looks at how a landscape was used during conflict based on the results of what happened. I contend we can use this method to analyze the landscape and look at the decisions that went into selecting it. Employing KOCOA in this manner will allow us to understand how militaries adapted, or failed to adapt, to a given landscape. The Second Seminole War in Florida (1835-1842) can serve as an ideal case study. For one thing, the military had never experienced the Florida environment, and therefore adaptations to landscape utilization will be readily apparent. Also, in the early 19th-century, the military as a cultural institution indoctrinated its members through extensive training at the United States Military Academy in West Point, NY, and I propose this standardized education had a significant negative effect on the shape, direction, and outcome of the Second Seminole War due to the gap between the knowledge gained through training and the knowledge needed in the field when fighting a war with Indians in the swamps and hammocks of Florida. Using modern military theory, the purpose of this research is to develop tools to measure how traditional European educational methods, which officers received while at the Military Academy, hindered their ability to adapt to the unique and challenging environment they encountered while trying to remove the Seminole Indians from the Florida territory. Conflict archaeology is also well suited to investigate the more human side, such as the decision-making processes and adaptations required, moving beyond the "what" and "how" aspects of conflict to the "why." One traditional approach to conflict archaeology is KOCOA. As used archaeologically, KOCOA employs modern cartographic information. Those participating in the conflict, however, would not have had access to this level of detail. Therefore, I propose that KOCOA be revised to incorporate the knowledge that would have been available to the decision makers at the time of the conflict. The aim of this research is to expand the methodologies of conflict archaeology to include indirect expressions of warfare and to incorporate them into a meaningful discussion of their role in the outcome of conflict. To accomplish this, I have developed a model against which hypotheses about the decision-making processes and their effectiveness can be compared.

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50

Woronow, Ilona. "L'idée de la correspondance des arts dans la théorie et la pratique de l'art des jardins (1760 à 1808)." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL028.

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Les classiques conçoivent le champ artistique pluriel comme un dense réseau de correspondances, en y décelant un potentiel d’une riche expérience de la culture du temps. En renonçant à chercher dans leurs textes les présages de la conception moderne de l’Art (le génie fulgurant, l’invention, la créativité, l’originalité), nous remettons l’accent sur un autre versant de l’esthétique classique, se focalisant sur la résistance de la matière à la forme, l’exécution, le faire et la durée. En concevant la mimésis comme une équivalence entre poiesis et aisthesis, les classiques affirment que l’expérience artistique doit son déroulement, ses inflexions et la qualité de sa richesse au(x) médium(s) engagé(s). Que ce soit potentiellement ou concrètement, la variété du champ des arts conditionne nécessairement toute expérience artistique. Stimulante ou dérangeante, l’intermédiation des registres allogènes dans la contemplation d’une œuvre ainsi que dans la définition d’un art devient un détour inévitable, un dispositif de cohérence, récalcitrant à toute systématisation. Cette vision des arts anime l’imaginaire depuis la Renaissance jusqu’à la fin du XVIIIe siècle, en trouvant dans la littérature jardinière un terreau particulièrement fécond. Au XVIIIe siècle, la tradition classique fait l’objet d’une importante pression : la nouvelle disposition épistémologique et la lente autonomisation de l’expérience esthétique incitent à l’organisation de relations interdisciplinaires jugées trop chaotiques. La réponse se montre ambiguë entre les constats, les impératifs et l’expérience relatée. La théorie du jardin restreint alors le cercle de ses références aux arts « libéraux », en assignant à chaque alliance interdisciplinaire une fonction particulière. L’entreprise remporte un certain succès : elle parvient à s’ancrer dans l’opinion publique et suscite un débat esthétique inédit dans l’histoire des jardins. Toutefois, la conceptualisation de la correspondance des arts se heurte à une difficulté : l’homogénéisation et l’unification du champ pluriel des arts. La déclaration du jardin en tant que foyer de « tous les arts » a pour but de prévenir le risque de sa monopolisation par un seul intermédiaire. En tout, suspendus entre les tendances du sujet unificateur et le désir de conserver la multiplicité des arts, les Lumières génèrent une forme de gestion de la pluralité que nous appelons une « dissipation contenue ». Les détours interdisciplinaires sont les chemins de la connaissance propres à la culture opérant dans le champ multiple des arts. Le contexte du jardin radicalise cette sémiose détournée. Les différences entre les objets acquièrent ici la valeur de simples différentiels. Dans une composition artistique qui fait de son exposition facteurs imprévisibles et contingents sa raison d’être, la logique fondée sur l’identité et l’opposition est inopérante. Par la voie de contigüité ou de similitude, les valeurs des arts se déplacent des objets à d’autres : la demeure principale rayonne et transmet son ordre architectural aux parterres environnants, le tableau imprime sa copie in situ de qualités picturales, la fabrique abritant une figure se pare de traits sculpturaux, etc. A réunir dans un enclos jardinier « tous » les arts, ses amateurs lui permettant de perpétuer cette sémiose potentiellement à l’infini. Les jardins des classiques ne sont pas conçus pour apporter de nouvelles connaissances, mais pour sonder l’expérience accompagnant son acquisition. L’enchaînement des dérapages disciplinaires « contenu » transforme la lecture du jardin en un « art de la promenade » érudit : une disposition cognitive constituée de comportements intellectuels et corporels étudiés, paradoxalement, dans le but d’atteindre le délassement et le naturel
The art of gardens in France (1760-1808): Correspondence of arts in theory and practice. Classical thinkers understand the plural artistic realm to be a dense network of correspondences, where the rich experience of the culture of time (of cultivating time) yields a high potential. Having renounced to search through their works for harbingers of modern art (brilliant genius, invention, creativity, originality), we concentrate more on another aspect of classical aesthetics which focuses on the resistance of matter to form – execution, the act of doing and duration. Considering mimesis as an equivalence between poiesis and aisthesis, classical thinkers maintain that artistic experience owes its unfolding, its inflections and its quality to the chosen medium or media. Be it potentially or concretely, the diversity of the art realm necessarily conditions every artistic experience. Whether it be stimulating of disturbing, the intermediation of allogenic registers – as regards both the contemplation of an art work and the definition of an art form – becomes a necessary detour, a coherence mechanism, recalcitrant to any systemization. This view of the arts inspired public and artist imagination from the Renaissance to the end of the XVIIIth century, finding in garden literature a particularly fertile ground. During the XVIIIth century, classicism begins to be questioned : a new epistemological tendency, coupled with the growing autonomy of the aesthetic experience, results in the ordering of seemingly chaotic interdisciplinary relations. Assessments, imperatives and portrayed experience make for an ambiguous response. As a result, garden theory reduces the scope of its references to the “liberal” arts, ascribing to each interdisciplinary alliance a particular function. This new approach enjoys considerable success, permeating public opinion and triggering an aesthetic debate never before seen in garden history. Nevertheless, conceptualizing a correspondence between the arts meets with difficulty: homogenizing and the unifying the plural domain of the arts. Presenting the garden as the source of “all of the arts” aims to prevent one single discipline from monopolizing it. All in all, torn between the subject as unifier and the desire to retain the multiplicity of the arts, the enlightenment philosophers invent a way to manage plurality that we call “contained dissipation.” Interdisciplinary detours are paths to knowledge specific to culture, operating in the multiple realm of the arts. In the context of the garden, this indirect semiosis is radicalized. Differences between objects thus acquire simple differential values. In an artistic composition whose existence is defined by its display vis-à-vis unpredictable and contingent factors, logic based on identity and opposition is inoperable. Through contiguity and resemblance, art values are displaced form one object to another: the principal residence radiates, transmitting its architectural order to the surrounding beds, the painting transfers pictorial qualities to its in situ copy, the factory harboring a figure takes on its sculptural traits, and so on. By uniting "all" of the arts in a garden enclosure, enthusiasts of the latter endow it with a material which makes it possible to perpetuate this semiosis infinitely. Classical gardens are not conceived to contibute new knowledge, but rather to enquire into the experience brought about by its acquisition. The succession of "contained" disciplinary blunders transforms the reading of the garden into an erudite “art of promenading” : at work is a cognitive mindset composed of prepared intellectual and bodily comportments whose paradoxical goal is to achieve relaxation and naturalness

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Dissertations / Theses on the topic 'Landscape Art History'

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