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Dissertations / Theses on the topic 'Painter'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 June 2025

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1

Chae, Elle. "Painter, Painter." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35199.

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In Painter, Painter, Elle Chae explores the home as an unstable, unpredictable environment that is highly sensitive to the traces emanating from the domestic space, including its inhabitants. This body of work examines how the occupant’s interactions can blur the notion of home as a shelter. Using the creative deconstruction as a mode of generating new meanings, Chae’s conceptual juxtaposition and wide range of techniques and surface create reverie scenes that are open to and encourage freedom of interpretations.

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2

Herbert, Lynley Anne. "Duccio di Buoninsegna icon of painters, or painter of 'icons'? /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 4.69 Mb., 57 p, 2006. http://wwwlib.umi.com/dissertations/fullcit/1435856.

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3

Cooke, Peter David. "Gustave Moreau, #painter-poet'." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307413.

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4

Verplanck, Anne Ayer. "Benjamin Trott: Miniature Painter." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625566.

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5

Jacobi, Carol. "Painter, painting, paint : a reappraisal of the work of William Holman." Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286207.

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Art historians tend to focus on the literary aspects of Hunt's paintings and little is said about their disconcerting appearance. This thesis explores Hunt's attitude to art-making and his artistic practice in order to investigate the relationship between the form of his work and its content. To this end, Hunt's written output is reevaluated. A distinction is made between public texts and private journals and letters. The latter display accelerating concerns about the artistic persona. A sense of religious doubt, weakness and mortality is answered by an alternative self-image which aspires to prophetic authority. During later years, this fantasy centres on hopes of resurrection. These anxieties pivot around the perfection and authenticity of the artist's production. The realism of Hunt's painting style authenticates his religious subject matter and the beliefs and self-image behind it. Public texts emphasise an objective, mimetic technique and attempt to elide the processes by which subjective meanings are inscribed into the image. However, in practice, Hunt completes his paintings in two distinct stages. The combination, on the same canvas, of an elaborate, linear design and precise, mimetic colour effects represents the artist's attempt to synthesise the imagined and the real. This process results in a paradoxical subversion of both imaginative and optical authority which retraces the doubts manifested in Hunt's writings. The dislocation between real and imagined appearance is confronted at the point of laying the colour on the canvas. Hunt conducts extensive research into technique in order to gain control over this act, but this also heightens an awareness of the contradictory identity of the image as paint. He addresses this by aligning the materials themselves with the moral order which is being depicted. Their inevitable imperfections therefore connote disorder and the art object, as well as the image, becomes an expression of the artist's unstable identity and beliefs.

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6

Radko, A. "Ukrainian artist-painter Yevgenia Gapchinska." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40445.

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7

Nisbet, Archibald. "George Clint (1770-1854) : theatrical painter." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271351.

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The thesis treats the theatrical scenes and single figure portraits of actors and actresses en role by George Clint. The development of theatrical scene painting in England during the eighteenth century is traced from its antecedents in The Netherlands and France through to the arrival of Clint. There is a brief review of Clint's career to 1816 when he exhibited his first theatrical scene at the Royal Academy. To define the area in which Clint worked, a chapter explores the theatre of the time. His theatrical scenes are discussed for each of the three phases of his work which I have identified. The first phase terminated in 1821 when he was elected ARA. His second phase ran through the 1820s when he continued his earlier manner of painting scenes from staged productions, with portraiture. In the last phase during the 1830s his style and subject material changed. He was essentially a painter of the comic, initially of largely contemporary comedy and farce, but after 1830 of the more substantial comedies of Shakespeare. At the same time his style changed to a more distanced treatment of the theatre without reference to specific productions or casts. The treatment of his theatrical scenes is followed by a consideration of his single figure theatrical portraits of actors and actresses. An important goal for Clint was full membership of the Royal Academy; that he never achieved it led to his resignation in 1836. The position of the Academy at the time, and in particular Clint's situation, is considered. Clint is seen as a peculiarly representative figure in the debates on both the fine arts and the theatre, working as he does at the junction of the two arts and affected by the problems of both.Prints from Clint's theatrical scenes and individual theatrical portraits, both as independent works and as book illustrations are also discussed. Finally, his influence and the reason why the genre of theatrical scene painting came to an end in him are considered 3

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8

Nichols, Thomas. "Tintoretto : the painter and his public." Thesis, University of East Anglia, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306263.

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9

Spivey, N. J. "The Micali Painter and his followers." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372910.

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10

Jones, Rachel. "Evolution: The Progress of a Painter." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/655.

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This analysis explores the progression of my work over the past three years of study. My initial pursuits involved ideas that revolved around contemporary feminism, however, with time I expanded upon those ideas by exploring other subjects. I realized the connection in all of my work lies in the use of manipulated found imagery, and the desire to release this imagery from the confines of traditional pictorial space. With this discovery, I became free to utilize any manner of subjects, as the subject matter relied heavily on the finding and re-interpreting of these disparate images into the language of paint. Moreover, specific modes of thought, such as Feminism, were allowed to become single threads in a diverse, complex tapestry.

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11

Benson, Lisa Virginia. "Hermonax : an early classical vase-painter /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962504.

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12

Piovarči, Rastislav. "Escape Motions: Rozšíření editoru Flame Painter." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2013. http://www.nusl.cz/ntk/nusl-236339.

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Main goal of this master´s thesis is to propose and implement improvements to an original purely raster version of Flame Painter editor. An enhancement of the undo/redo system with emphasise to its functionality and memory requirements has been implemented. Moreover, the editor was extended by adding an ability to edit brush strokes using vector primitives which effectively assist the user in future stroke editing. This project was created in cooperation with employees of the Escape Motions Company.

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13

Borgers, Olaf Egbert. "The Theseus painter style, shapes and iconography /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2003. http://dare.uva.nl/document/71051.

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14

Gopin, Seth A. "Jean-Baptiste Vanmour, a painter of turqueries /." Ann Arbor (Mich.) : UMI, 1994. http://catalogue.bnf.fr/ark:/12148/cb371610976.

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15

Garcia, Rebecca J. "Pigments and pianos painter and varnisher Lyman White /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 75 p, 2007. http://proquest.umi.com/pqdweb?did=1338863521&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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16

Corley, Brigitte. "Conrad von Soest : his altarpieces, his workshop and his place in European art." Thesis, Birkbeck (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369553.

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17

Pautz, Steven Lee. "Painter training in virtual reality conceptualization, design, and implementation /." [Ames, Iowa : Iowa State University], 2007.

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18

Nunn, Lisa. "The aesthetic of an artist : Cummings as poet/painter /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841327.

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19

Insley, Alice Amelia. "Painter and place : Joseph Wright and Derby, 1797-1886." Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/41356/.

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As the endurance of Wright’s soubriquet ‘of Derby’ shows, the association between Wright and Derby is distinctive in its ongoing cultural resonance. The legacy of this today is the Joseph Wright Collection at Derby Museum and Art Gallery – the largest collection of his work in the world. This thesis is, therefore, concerned not with arguing for the relationship between Wright and Derby but with attending to how it has been represented and claimed during the 19th-century. This will encompass both how the relationship influenced Wright’s posthumous reputation and how it was enlisted in Derby as the painter was incorporated into the town’s social and cultural fabric. The different claims made upon the artist’s life and locality will become apparent through this, demonstrating the changing relation between painter and place as it was adapted and appropriated according to different times, places, and discourses. This refurbishment of the painter throughout the 19th-century is significant as it provided cultural continuity at a time when the town was rapidly transforming. Exhibitions were an important medium through which the relationship was shaped and represented: within Derby there was a display of Wright’s work nearly every decade. These represent important moments in which Wright was enlisted as a source of cultural capital and in which his reputation was shaped and sustained. Following the natural chronology of the period, the thesis will first consider Wright’s immediate commemoration through the networks of people and circulation of objects involved in sales of his work and his literary representation. In 1839 the Derby Mechanics’ Institute exhibition was heralded as ‘Derby’s first exhibition’; Wright’s prominent display in this implicated him within the civic culture of the 1830s. As momentum around exhibitions and Wright built in the latter half of the century, the exhibitions in 1866, 1870, and 1877 will be considered in relation to one another, consolidating Wright’s presence within the town. Lastly, the thesis will close with the 1880s, when Wright’s association with Derby was celebrated and claimed through a large retrospective exhibition of his work, the beginning of a municipal art collection, the publication of his monograph, and a display at the Royal Academy in 1886.

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20

Teasdale, Jonathan. "Proterozoic tectonic models with application to the Mount Painter inlier /." Title page and abstract only, 1993. http://web4.library.adelaide.edu.au/theses/09SB/09sbt253.pdf.

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21

Spencer, Susan Ambler Ziskin Rochelle. "William Hogarth's The Painter and his pug intent and interpretation /." Diss., UMK access, 2008.

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Thesis (M.A.)--Dept. of Art and Art History. University of Missouri--Kansas City, 2008.<br>"A thesis in art history." Typescript. Advisor: Rochelle Ziskin. Vita. Title from "catalog record" of the print edition Description based on contents viewed Sept. 12, 2008. Includes bibliographical references (leaves 68-72). Online version of the print edition.

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22

Painter, Mark [Verfasser]. "Elektronische Medien in der Hochschullehre - Metadaten und Zugriffsstrukturen / Mark Painter." Aachen : Shaker, 2006. http://d-nb.info/1170530516/34.

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23

Pascu-Tulbure, Cristina. "Ruskin and Burne-Jones : the making of a modern painter." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576953.

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This thesis discusses the influence of the personal and intellectual friendship between John Ruskin and Edward Burne-Jones on the artist's work, and argues that the friendship was instrumental in Burne-Jones's transition from Victorian to modern aesthetics. Chapter 1 deals with the wide range of critical responses elicited by Burne-Jones's work; it also highlights the difficulty of appreciating Burne-Jones fully without an awareness of his relations with Ruskin. In Chapter 2 I discuss Ruskin's early critical theories and his position in the aesthetic debate of the mid-nineteenth century. This is particularly relevant to Burne-Jones's development because he started his artistic career in total agreement with Ruskin. Chapter 3 addresses those experiences in Burne-Jones's life prior to meeting Ruskin, which led the artist to embrace the work of the critic. At the end of the chapter I touch on Burne-Jones's friendship with Rossetti, whose mid-1850s influence suggested to Burne-Jones a path pointing in a different direction from Ruskin. With his mature work Burne-Jones revisited and explored Rossetti's early ideas on 'design', and developed an artistic creed which both acknowledges Ruskin's teaching and departs from it. Ruskin took an interest in Burne-Jones's career as soon as they met. They became friends, and Ruskin commissioned work from him, gave him practical advice and made demands on his style. But the strongest influence Ruskin exercised was by his writing, as Burne-Jones read Ruskin all his life. Chapter 4 explores the emergence of those of Rusk in's critical ideas which had the greatest impact on Burne-Jones's art. The last chapter deals with Burne-Jones's response to Ruskin's critical theories and personal experiences. This response crystallised at its clearest in the four series of The Briar Rose, on which Burne-Jones worked between 1864 and 1895. The pictures, I conclude, present themselves as a continued emotional and intellectual dialogue with Ruskin and formulate an aesthetic pointing towards the twentieth century.

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24

Eriksson, Ruben. "FRM AIRCON : What can be done to improve the personal protective equipment for auto body painters?" Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-125440.

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The professional auto body painter works in an extreme environment, where the painter faces constant movement, ever-changing working situations and pressure to deliver a flawless paint job: the paint booth. The temperature in the paint booth is high, often around 30˚ Celsius. The floor is very hard, made of metal grid or concrete, and the painter usually has to move around a lot, at least 9 km per day. For this project I chose to focus on the painter’s work footwear as a major part of the personal protective equipment. My goal is to create a new standard in working shoes, specifically made for this environment and context. A comfortable shoe that could withstand heat, paint dust and wear. A shoe that is made for its users: the FRM AIRCON.

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25

Wallersteiner, Anthony. "A Cornish palimpsest : Peter Lanyon and the construction of a new landscape, 1938-1964." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342268.

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26

Ley, Vicky. "Landscape in the secular paintings of Piero di Cosimo : an aspect of late Quattrocento and early Cinquecento art." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289475.

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27

Mingay, Philip Frederick James. "Vivisectors and the vivisected, the painter figure in the postcolonial novel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60328.pdf.

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28

Huston, Matthew. "The kinematic evolution of the northern Mt. Painter Inlier, South Australia /." Title page, contents and abstract only, 1995. http://web4.library.adelaide.edu.au/theses/09SB/09sbh971.pdf.

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29

Turvey, Gerry. "A painter for the people : Stanley Spencer, art, politics and populism." Thesis, University of East London, 1997. http://roar.uel.ac.uk/1243/.

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This thesis is a study of the paintings of Stanley Spencer (1891-1959) and is designed to challenge received accounts of his work. Its theoretical perspective is that of 'cultural materialism' and its purpose is to place Spencer and his pictures within the social, cultural and political history of their time. It begins by outlining the four critical constructions of 'Stanley Spencer' that it challenges and by describing Spencer's somewhat oppositional location in the institutional complex of the artistic field. Then, rather than adopt a conventional chronological narrative, sets of paintings are studied in relation to their social context or historical moment. Here, several fresh arguments are advanced about particular aspects of Spencer's work. Thus, features of his landscape output are interpreted as at odds with a mainstream tradition sponsoring dominant notions of 'Englishness'; his original and politically charged solution to the problem of representing industrial labour is discussed; he is claimed as a Realist painter and his role, alongside others, as a sympathetic investigator of everyday life is examined; the 'stoic response' to the First World War of Spencer and his peers is identified and differentiated from the 'traditionalist response' of the powerful and the better known 'radical response' of the war poets; his libertarian sexual politics is specified and the utopian dimension of his erotic pictures clarified; his paintings of Christ and resurrection are then placed in the context of radical Protestant traditions. Thus, rather than limiting itself to the biographical reductionism of earlier accounts or the narrower art-historical approach of more recent 'revisionist' writing, this study offers a way of understanding Spencer's work which emphasises its populist, radical and, in effect, political dimensions. His art emerges as a profoundly public one - offering ordinary life and experience as worthy of representation in forms aspiring to public display and soliciting a new reading practice from viewers confronting them.

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Milette, Nicole. "Landscape-painter as landscape-gardener : the case of Alfred Parsons R.A." Thesis, University of York, 1997. http://etheses.whiterose.ac.uk/2530/.

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31

Stefanovski, Iva [Verfasser], and Schamma [Akademischer Betreuer] Schahadat. "Julije Knifer : Painter of Absurd / Iva Stefanovski ; Akademischer Betreuer: Schamma Schahadat." Tübingen : Universitätsbibliothek Tübingen, 2016. http://d-nb.info/1164038265/34.

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32

Sanches, Pedro Luis Machado. "The Pistoxenos Painter, revisão crítica da atribuição de John Davidson Beazley." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-12052010-104217/.

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Desde a primeira publicação da alcunha Pistóxenos Painter (Pintor de Pistóxenos), designando o artista cujas mãos originaram pinturas de um conjunto de vasos áticos, passou-se a dispor de uma nova classificação para este material. Tal classificação ainda e tida como muito mais precisa que qualquer cronologia ou tipologia existente. Quase a totalidade dos pesquisadores de ceramologia e iconografia gregas entenderam que enquanto a denominação foi uma invenção moderna, o pintor anônimo por ela determinado foi uma descoberta. O autor desta e de centenas de outras atribuições, o helenista inglês John D. Beazley (1885-1970), foi indubitavelmente o mais importante perito ou connaisseur de que se tem registro, a julgar pela extensão enciclopédica de suas listas de pintores e pela aceitação quase universal dos resultados de seu método de atribuir. Críticas e revisões deste método (surgente no século XIX, com os estudos do medico e perito Giovanni Morelli) são datadas já das primeiras décadas do século XX e tiveram uma historia descontinua e desprestigiada. Uma analise recorrente do revisionismo o atribui a falha de seus defensores e a ignorância das técnicas morellianas. Talvez a principal característica dos ataques dirigidos as atribuições de Beazley tenha sido a falta de importância atribuída ao reconhecimento de pintores vasculares. Seja pela proximidade com a arte do metal, seja pelo lugar que estes artistas ocupavam na sociedade ateniense, sobretudo entre o fim das guerras medicas e a ascensão política de Péricles. A presente tese se propõe a considerar o problema do método de atribuição a partir da obra de um só pintor, escolhido dentre aqueles que não foram diversas vezes reconsiderados e extensivamente justificados (a única monografia dedicada ao Pintor de Pistóxenos foi publicada nos anos 1950). A divergência estilística entre os fundos brancos e as figuras vermelhas do Pintor de Pistóxenos e a conservação fragmentaria da maioria de suas obras também colaboraram para a decisão de revisar esta serie de atribuições dentre tantas outras.<br>Since the first publication of the nickname Pistoxenos Painter, like identity of an artist whose hands had originated attic vase-paintings, a new classification of the series of vases and fragments was developed. This classification is still recognized like more precise than all other existing chronology or typologies. Almost all the specialists in Ancient Greek ceramology and iconography understood that while the denomination was a modern invention, the anonymous painter determined was a discovery. The author of this and hundreds of other attributions, the English Hellenist John D. Beazley (1885-1970), was doubtlessly the most important well-know connoisseur of all the History, what can be judged by the encyclopedic extension of his lists of painters and by the almost universal acceptance of his method of attribution\'s results. Criticisms and revisions of this method - initiated in XIX century, with the studies of Giovanni Morelli, an Italian doctor and connoisseur - are dated already of the first decades of XX century, but their development was discontinuous and discredited. A current interpretation of the revisionism considers it like an error and ignorance of the techniques developed by Morelli. The principal characteristic of the attacks against attributions of Beazley is perhaps the lack of importance given to the recognition of the vascular painters. Either by the proximity with the metal\'s art, or by the place that the pottery artists occupied in the Athenian society, chiefly between the end of the Persian wars and the political ascension of Perikles. This thesis proposes to considerate the problem of the method of attribution from only one painter\'s workmanship, chosen among the least published and not extensively justified (the only monograph dedicated to the Pistoxenos Painter was published in the years 1950). The stylistic divergence between the white-grounds and the red-figures of the Pistoxenos Painter, and the fragmentary conservation of the majority of his works had also collaborated for the decision to revise this particular series of attributions.

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33

Van, Haute Bernadette. "David III Ryckaert : a seventeenth-century Flemish painter of peasant scenes /." Turnhout : Brepols, 1999. http://catalogue.bnf.fr/ark:/12148/cb37626891k.

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34

Burke, Christina Sarah Wei-Szu. "Chen Chengbo (1895-1947) : a Taiwanese painter at the crossroads of modernity." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196196499.

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35

Smith, Peter B. "The alteration history of late Proterozoic Wooltana volcanics, Mount Painter Province, S.A. /." Adelaide, 1992. http://web4.library.adelaide.edu.au/theses/09SB/09sbs656.pdf.

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Thesis (B. Sc.(Hons.))--University of Adelaide, Dept. of Geology, 1992.<br>National grid reference SH54 - 6737-2. One coloured folded map in pocket inside back pocket. Includes bibliographical references.

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36

Slade, John V. "Metamorphism of a northern segment of the Mount Painter Inlier, South Australia /." Adelaide, 1995. http://web4.library.adelaide.edu.au/theses/09SB/09sbs631.pdf.

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37

Silver, Nathaniel Edwin. "Francesco di Stefano, called il Pesellino : the artistic identity of renaissance painter." Thesis, University College London (University of London), 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.655748.

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38

M'Enesti, Ana-Maria. "A Painter of the Absurd: Reading Through and Beyond Eugène Ionesco's Humanism." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18754.

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The Theatre of the Absurd often has been considered the reflection of a deconstructionist gesture, a negation of the existent theatrical norms, therefore an end in itself without any prospect of possible alternatives or remedies. While this may be partially true, the entropy inherent to the absurd does not adhere to a mechanically formal posture; rather, the "purposeless wandering", in Eugène Ionesco's case, points, through humor (Ce formidable bordel), toward a longing for meaning, deeply rooted in the human being. This very longing is the crux of Ionesco's humanism. For him suffering (Le Roi se meurt), as the offshoot of the human being's finite condition and the affect that bonds the community, is intertwined with an unexplained feeling of wonderment--an opening to contemplation of the infinite. The merging of suffering and wonderment that suffuses Ionesco's textual and visual works presents the field in which his vision of a metaphysical humanism must find form. Art, in Ionesco's perspective, as the expression of being and the witness of its time (Rhinocéros), can be understood as a redemptive medium, a hope for humanism. Through the interplay of text (plays, reflections and short stories), image (drawings, gouaches and lithographs) and performance, this dissertation explores themes, imagery and structures that reflect Ionesco's paradoxical view on humanism. Thus, in light of interdisciplinary readings, I identify archetypal images recurrent in Ionesco's works and his subversive interpretation of these images as revelatory of the author-painter's inner search for meaning. This quest, which is the unifying principle throughout Ionesco's work, is revealed in themes spanning from the entropy of language (La Cantatrice chauve, Les Chaises) to the sacrificial act of substituting for the other (Maximilien Kolbe). In this ultimate act of testimony, Ionesco depicts Emmanuel Lévinas' ethics wherein the self becomes a "hostage" of the other, vulnerable at the encounter with the other. My analysis of Ionesco's humanism continues beyond his works with a reading of the historicized absurd and humanism in the works of two contemporary diasporic playwrights: Matéi Visniec and Saviana Stanescu.

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DeWitt, David Albert. "Jan van Noordt (1624-after 1676), famous history- and portrait-painter in Amsterdam." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0021/NQ54408.pdf.

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40

Crossman, Colette M. "Art as lived religion Edward Burne-Jones as painter, priest, pilgrim, and monk /." College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/6825.

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Thesis (Ph. D.) -- University of Maryland, College Park, 2007.<br>Thesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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41

Schaefer, Bruce F. "Isotopic and geochemical constraints on proterozoic crustal growth from the Mt. Painter inlier /." Title page, contents and abstract only, 1993. http://web4.library.adelaide.edu.au/theses/09SB/09sbs294.pdf.

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42

Gordon, Grier Robertson. "Scottish scenes and Scottish story : the later career of David Allan, historical painter." Thesis, University of Glasgow, 1990. http://theses.gla.ac.uk/2505/.

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David Allan's artistic career may be divided into two major periods. Having first attended the Foulis Academy, he spent at least a decade in Italy, finally returning to Scotland in 1779, his home for the next seventeen years. The pictures which he executed during this second period form the basis of the present study. Since the emphasis of this study is thematic rather than biographical, some distortion of chronology is inevitable, though it is not uncomfortably obvious. At the same time, some element of biography is indispensable. This is particuarly true of the first chapter, a necessary setting of the scene which highlights Allan's training in the arts, his collection of prints, copies, original drawings and plaster casts, and the most important works from his years abroad. That part of this biographical account which deals with his Scottish career is devoted largely to Allan's work as Master of the Trustees' Academy, since the pictures with which he was occupied at this time - portraits, Conversation pieces, literary illustrations, Historical paintings and Genre scenes - are taken in groups and discussed in greater depth in the chapters which follow. Before the first chapter concerned with Allan's work in any of these genres, however, there stands a chapter dealing with the wider context of narrative painting in Britain at the time and introducing a number of themes traced throughout later chapters, where they are more fully and particularly discussed.

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Yin, Yanfei. "Communist or Confucian? The Traditionalist Painter Lu Yanshao (1909-1993) in the 1950s." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338318301.

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Godbey, Margaret J. "Vying for Authority: Realism, Myth, and the Painter in British Literature, 1800-1855." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/81444.

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English<br>Ph.D.<br>Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist.<br>Temple University--Theses

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Hoyt, Sue Allen. "Masters, pupils and multiple images in Greek red-figure vase painting." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150472109.

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Godsmark, Bruce Nye. "Metamorphism and hydrothermal history of the Yudnamutana Copper Field, Mount Painter province, South Australia /." Title page, table of contents and abstract only, 1993. http://web4.library.adelaide.edu.au/theses/09SB/09sbg589.pdf.

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Thesis (B. Sc.(Hons.))--University of Adelaide, Dept. of Geology and Geophysics, 1994.<br>National grid reference: Yudnamutana sheet (SH-54) 6737 I. Includes bibliographical references (leaves 22-24).

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Sloman, Susan Legouix. "Gainsborough in Bath 1758-1774." Thesis, University of Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324365.

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Bongers, Myriam Amanda Brigitta. "Re-considering Wu Wei (1459-1508) : a non conformist painter of the Middle Ming Dynasty." Thesis, SOAS, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314182.

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May, Suzanne E. "Sublime and infernal reveries : George Romney and the creation of an eighteenth-century history painter." Thesis, Liverpool John Moores University, 2007. http://researchonline.ljmu.ac.uk/5810/.

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The image of George Romney presented in his early biographies is of a successful society portraitist by day but the creator of `sublime and infernal reveries' at night by candlelight. Today these passionate designs from literature are characterized as proto- Romantic but, paradoxically, they were created within the context of a disciplined renaissance-humanist tradition. Romney's amateur and professional literary friends supplied him with a profusion of potential subjects and produced eulogistic verses about the artist and his works, stressing his sensitivity, seclusion, humble origins and natural genius. Taking their cue from the formulaic writings about artists from antiquity and the renaissance, the poets applied to Romney legends concerning artistic predispositions towards melancholy and emotional depth and provided a format in which his works of sentimental or tragic themes could be appreciated. The desired end result of their concerted and contrived enterprise was a fame for the artist which also reflected glory on the writers. Post-Romantic-historical methodologies have taken for granted that deference on the part of the artist t wards a visors and patrons carried negative associations and have underestimated the collaborative nature of creativity in the eighteenth century. George Romney's career demonstrates that even within changing social and creative orders, and a long-side more modem impulses, longstanding traditions involving a close association between artists and advisors, striving for mutual benefits, survived well into the early-Romantic period. Examination of the extensive money primary source material, including correspondence with literary friends and his jottings on subjects and artistic theories in notebooks is undertaken within the context o f an analysis of Romney's works and the means of their promulgation. This thesis offers a new interpretation of Romney's career and argues that artistic production in late eighteenth- century Britain cannot be fully understood unless the ambitions and methods of the literary figures advising artists are considered.

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Mathison, Christina Sarah Wei-Szu Burke. "Identity, Modernity, and Hybridity: The Colonial Style of Taiwanese Painter Chen Cheng-po (1895-1947)." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386038314.

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