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Dissertations / Theses on the topic 'Painting and nature'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

Morgan, Rebecca. "Joy in Nature." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2521.

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Artist Statement I am fascinated with colors in nature and how it affects our moods. The colors of a sunset and moonlit sky; the feeling of a brewing storm; the laziness of a cold, gray day; the roar of an ocean; and the feel of sand on your feet are elements that I want to capture in my drawings and paintings. In addition to the natural environment, animals are an integral part of nature that I incorporate in my work. Pets are the unspoken blessings that bring joy and laughter to my life. Pets, especially dogs, are proven to relieve stress, to brighten emotions, to contribute to healing,

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2

Shepardson, Emily. "Domestic in Nature." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2986.

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I am a painter and a printmaker. My imagery consists of houses, barns, birds, trees, hands, and gloves. On the surface these items represent home, nature, and female identity. On another level they symbolize an inner world of dreams, wishes, and losses. My paintings contain aspects of collage, they combine paint, paper, and low relief. I paint layers of transparent and opaque images and colors in order to achieve a dreamy and ethereal effect. In printmaking, I combine my imagery in layers by printing small plates and stencils next to and on top of one another until a dense, multifaceted im

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3

Hoen, Laurie. "A Brush With Nature." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2026.

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My work investigates both the objective and the subjective nature of my intimate relationship with nature. I explore my embrace of both art and science, the realistic and the abstract in my search for the immanence of goodness in creation. From a grain of pollen to a beautiful blossom to a decaying pod, the natural world celebrates life’s insistence on recreating itself. All around me, nature is quietly dancing to a peaceful song of restoration and balance that offers me hope of a continuance and beauty in spite of the neglect I sometimes offer in return. My recent work, in paintings, pri

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4

Jacobs, L. Lloyd. "Ad infinitum /." Online version of thesis, 1995. http://hdl.handle.net/1850/12255.

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5

Maines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.

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6

Ratliff, Marguerite Z. "Love of Nature." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1670.

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7

Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.

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The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layerin

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8

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<br>M.A.<br>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

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9

Park, Sungsil. "East Asian and Western perception of nature in 20th century painting." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/e1cdcb78-5148-4de7-9d84-4c701af7ad29.

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The introduction aims to investigate both my painting and exhibition practice, and the historical and theoretical issues raised by them. It also examines different views on nature by comparing and contrasting 20th Century Western ideas with those of traditional Asian art and philosophies. There are two sections to this thesis; Section A contains an historical overview of Eastern and Western philosophy and art, Section B presents observations on my studio and exhibition practice. Section A is divided into two chapters. Chapter 1 examines concepts of nature in the East and West before the eariy

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10

Bachtel, April. "Innate Materiality." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304282952.

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11

Ghani, Sulaiman Abdul. "The forms and colors of nature on silk /." Online version of thesis, 1987. http://hdl.handle.net/1850/10427.

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12

Browne, Deborah. "PAINTING THE SUBLIME LANDSCAPE AND LEARNING TO SEE NATURE ALONG THE WAY." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4150.

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My thesis is one artist's response to the question of the relevance of landscape painting today, focusing on the communication of the idea of environmental stewardship. The process of studying nature and transferring that vision to canvas promotes greater understanding of the beauty and complexity of elements that comprise ecosystems. The artist possesses a creative impulse finding satisfaction in making artwork that expresses a love of nature as part of a larger worldview. If done well, the persuasive power of such art may be enormous. Comprised of oil paintings and written work, this thesis

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13

Wu, Shuangshuang. "Human/Nature." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/110.

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This project has evolved from my own observation of our deteriorating living environments. I am exploring the development of a visual story to represent my contemplation of humankind's consumption, and how it endangers the balance of the natural world. Through drawing and animation, I hope to develop a visual language and an approach to storytelling that will inspire people to think about balancing economic, environmental, and ethical issues in design and development, and to advocate a simple honest life and noninterference with the necessary course of natural events.

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Hendrix, Marjorie Lee. "Joris Hoefnagel and the Four Elements : a study in Sixteenth-Century Nature painting /." Ann Arbor (Mich.) : University microfilms international, 1987. http://catalogue.bnf.fr/ark:/12148/cb35535232x.

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15

Duncan, Sandy. "Discussing the nature of painting through the poetics of transaction and experience an exegesis submitted to AUT University in partial fulfilment of the degree of Master of Arts (Art and Design), 2007." Click here to access this resource online, 2007. http://hdl.handle.net/10292/643.

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Exegesis (MA--Art and Design) -- AUT University, 2007.<br>Includes bibliographical references. Also held in print (viii, 51 leaves : col. ill. ; 30 cm.) in the Archive at the City Campus (T 759.993 DUN)

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16

Dorkin, Molly Karen. "'Let nature never be forgot' : plein-air landscape sketching by British artists in Italy, c. 1750-1800." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708169.

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17

Warnick, Shae Lewis. "Aviary of the Reverend William J. Long." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7133.

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Humans perceive the natural world in a subjective and sensual way, yet over time science has turned the study of nature into a progressively objective pursuit. The Aviary of the Reverend William J. Long is an installation of anthropomorphic bird dolls that examines the roles of science and sentiment in our interactions with the natural world.

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18

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 com

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Barlow, Paul Jonathan. "'The backside of nature' : the clique, Hogarthianism and the problem of style in Victorian painting." Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241802.

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Barlow, Paul Jonathan. ""The backside of nature", the clique, Hogarthism, and the problem of style in Victorian painting." Boston Spa, United Kindom : British Library Document Supply Centre, 1990. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.241802.

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21

Lambert, Raymond John. "Landscape existing with art : a study of ideas and style in John Constable's landscapes." Thesis, Birkbeck (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313592.

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22

Peters, Eddie. "Painter's Wilderness." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4533.

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Painter's Wilderness is a transition between painting strictly from imagination to painting with the use of drawings and sketches to interpret and authenticate an observation. The transition became an exploration of value patterns, compositional shapes and color correspondence in building a technically successful painting while allowing the piece to have its own life.

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Roe, Jeremy M. N. "Velázquez's 'imitation' of nature seen through 'ojos doctos' : a study of painting, classicism and Tridentine reform in Seville." Thesis, University of Leeds, 2002. http://etheses.whiterose.ac.uk/15212/.

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The following chapters examine the cultural significance of Velazquez's Sevillian paintings, and provide a study of his relationships to the thought of Sevillian patrons. The discussion is based on a methodological review of the discussion of his paintings and their relationship to painting theory. A number of Iberian treatises on painting are analysed to explore Iberian and Sevillian attitudes to painting. A focus is developed on the writing of Velazquez's patrons, Juan de Fonseca and Francisco de Rioja, which has not been examined in regard to Velázquez until now. The combination of methodol

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24

Rafaelová, Kateřina. "As long as I don't remember who is wearing trousers anymore." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2021. http://www.nusl.cz/ntk/nusl-445698.

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The diploma thesis entitled As long as I don't remember who is wearing trousers anymore consists of a series of large-format paintings. The work is the result of the author's long-term interest in figural painting and especially in the pastel technique and its possibilities of depicting the atmosphere. Through the atmosphere of the image, the diploma thesis creates a space for narration and mystery. In the textual part of the diploma thesis, the author deals mainly with formal aspects of painting.

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Roussille, Frédéric. "René Char ou la nature de l’image." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3063.

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Dans son oeuvre poétique René Char cultive une façon de faire image où l'évidence et le mystère sont équivalents. Car ce qui, chez lui, se met en vue n'est pas conçu selon un usage du langage où le monde et les mots se feraient face. N'étant pas ce qui peut être réduit par le langage, le monde est alors ce geste par lequel cela, prenant le risque de s'inventer, se voit ou se dit, se trace ou s'écrit. Suivant la carrière du poète, nous observons comment un tel projet de poésie souveraine s'est précisé et nous voyons mieux pourquoi Char s'est passionné pour les peintres ; comment il s'inscrit da

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26

Guardiano, Nicholas. "Transcendentalist Aesthetics in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/914.

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My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph Waldo Emerson, and which influenced th

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27

Cooper, Karie D. "Perspective." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2309.

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As an artist, I am interested in understanding how and why humans interact with the natural world. I examine my own individual behaviors and practices and research impacts made on nature by humans as a whole. I am drawn to nature for a multitude of reasons, including aesthetic beauty, psychological wellness, unraveling the mysteries of the universe and trying to understand the origins of life. As an artist I explore the dialectic relationship between everything we perceive outside of ourselves as the environment, and the way we think of ourselves in relation to that environment. I believe in t

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28

Gardner, Lisa. "Organic Space." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1371.

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29

Litwinowicz, Michel. "Rome et Naples, deux écoles de nature morte au XVIIe siècle et leurs échanges." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP034/document.

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L’école romaine et l’école napolitaine de nature morte comptent au XVIIe siècle parmi les plus importantes dans la peinture européenne. Pendant tout le Seicento, elles sont restées étroitement liées, en multipliant les tableaux de fleurs, fruits, légumes, poissons, gibiers, sous-bois.... La thèse étudie l’évolution de ce genre à Rome et à Naples et les resitue dans le vaste tissu des échanges culturels et stylistiques entre ces deux capitales. Elle analyse la place de la nature morte dans le marché de l’art (circulation, marchands, prix, estimations) et dans les collections. Le goût de mécènes

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30

Stewardson, Margaret Elizabeth. "Nature and construction in ancient Greek vase-painting : the rendering and contextual significance of natural and man-made settings in Athenian figural ceramics of the sixth to the fourth centuries B.C." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416859.

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31

Kroin, Vanderlei. "Diálogos poético-plásticos e natureza em Helena Kolody e Miguel Bakun: a poesia das palavras e das cores." Universidade Estadual do Oeste do Paraná, 2017. http://tede.unioeste.br/handle/tede/3450.

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Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-02-28T17:23:31Z No. of bitstreams: 2 Vanderlei_Kroin2017.pdf: 7445392 bytes, checksum: d700c1fb5012b1aebabb55b5fbf1f8c9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Made available in DSpace on 2018-02-28T17:23:31Z (GMT). No. of bitstreams: 2 Vanderlei_Kroin2017.pdf: 7445392 bytes, checksum: d700c1fb5012b1aebabb55b5fbf1f8c9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-15<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior -

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McDonald, Timothy. "Mud and Ashes." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1013.

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The artist discusses the work in Mud and Ashes, his Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee, from March 28 to April 1, 2005. The exhibition marks a turning point in the artist’s work, occupying a beginning place as he completes his graduate career. The work consists of fifteen paintings and one sculptural installation. The paintings are on paper and employ local materials such as red clay, pollen, and beeswax along with traditional artist’s materials such as oil and charcoal. Fire and a power sander have also been used

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33

Massie, Rebecca. "Country Views." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1047.

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Over the years I have created many different images and explored a variety of media along my artistic journey. Similar images continue to occur in my work - images from my life as a child and as an adult in rural settings. I lived on a poultry farm and was involved in working with my parents there. When I married, my husband was a cattle farmer so I continued to live on a farm and use rural images in my work. Living in the country makes me constantly aware of the relationship between God, nature and man. I believe that we can find beauty in the most ordinary objects or places. My artwork is in

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Sall, Eric. "Painted World." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/69.

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With painting I find myself asking a lot of questions and finding very few answers, but I think it is a healthy and necessary process. This constant questioning parallels life outside of art for that reason. Life is full of unanswerable questions, and that is part of the reason why I make paintings. It is a strange way of accepting and dealing with the unknown. In this thesis I explain my relationship to the practice of painting. I reveal the actual processes I go through when making a painting, and investigate the content, or lack thereof, in my abstract paintings.

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35

Moodie, Meg R. "Drawing the divide : the nature of Athenian identity as reflected in the depiction of the „other‟ in Attic red-figure vase painting in the fifth century BCE." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80201.

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Thesis (MPhil)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: During the fifth century BCE there were three defining periods in Athenian history that challenged its society: the Persian Wars (490 – 479 BCE); Periclean Athens (mid-fifth century); and the Peloponnesian War (431 – 404 BCE). As the development of identity is a reactionary process, these three periods had a profound effect on the Athenian identity and led to the redefinition of this self-image along the primordialist models. Two premises are combined in this study. Firstly that comparisons to contrary ethnicities are vital to

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36

Browne, Deborah. "Moss: a Closer Look at This Humble Plant and Its Place Within the Historical Context of Landscape Painting, Considering Its Ecological Significance With Reflections on Nature and Balance." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/753.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Sciences<br>Liberal Studies

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Marie, Laurence. "L'acteur peintre de la nature. Esthétique du tableau et premières théories du jeu théâtral au XVIIIème siècle (France, Angleterre, Allemagne)." Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040147.

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Cette thèse entend montrer comment la naissance de la théorie du jeu théâtral au XVIIIe siècle contribue à la mise en cause du modèle mimétique classique au profit d'un nouveau modèle expressif. Considérant trois aires culturelles (la France, l'Angleterre et l'Allemagne), elle adopte une démarche chronologique, qui vise à souligner les changements dans la façon d’entendre le parallèle entre l'acteur, le peintre et l’orateur. Il apparaît ainsi que la théorie du jeu tire sa légitimité d'une réhabilitation du spectacle visuel, qui donne lieu à une esthétique du tableau scénique mettant en lumière

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Chapman, Gaye. "Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings /." View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/29745.

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Thesis (Ph.D.)--University of Western Sydney, 2004.<br>A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Contemporary Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy, Contemporary Arts. Includes bibliographies. Electronic version minus appendices 2, 3, 4 is also available online at: http://handle.uws.edu.au:8081/1959.7/29745.

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Drinkwater, Kara M. "Trees." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1907.

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Labo, Nora. "Competing constructions of nature in early photographs of vegetation : negotiation, dissonance, subversion." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/12807.

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While the role of photography in enforcing hegemonic ideologies has been amply studied, this thesis addresses the under-researched topic of how photography undermined dominant narratives in specific historical circumstances. I argue that, in the later part of the long nineteenth century, photographs were used to represent the natural world in contexts where their functions were uncertain and their capacities not clearly defined, and that these hesitations allowed for the expression of resistances to dominant social attitudes towards nature. I analyse how these divergences were articulated thro

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Salvi, Claudia. "Jean-Baptiste Monnoyer (Lille 1636 – Londres 1699) : peindre des fleurs et des fruits à l’âge classique." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3068.

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A partir de l'élaboration du catalogue de son oeuvre (tableaux de chevalet et peintures décoratives), cette thèse étudie et ré-évalue la place de Jean-Baptiste Monnoyer dans la France du Grand Siècle. L'étude des oeuvres de ses collaborateurs et contemporains permet de préciser l'originalité de sa personnalité artistique et de définir sa place dans le développement de la peinture de nature morte en France au XVIIe siècle. Né à Lille, Monnoyer arrive tôt à Paris, où il ajoute à son expérience de la nature morte nordique l'influence des peintres français de la vie silencieuse. Il inscrit aussi s

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Josenhans, Frauke Verena. "Avant le Sud, la Provence vue par les peintres allemands (1768-1867)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3149.

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La Provence n’est pas une destination traditionnellement associée avec la peinture allemande. Pourtant, cette région attire les peintres déjà au siècle des Lumières. Les vestiges romains et le souvenir de Pétrarque en font une étape du Grand Tour ainsi que du Kavalierstour. Les artistes allemands, si nombreux à aller en Italie, commencent aussi à remarquer le sud de la France. Les raisons qui les poussent à entreprendre ce voyage sont variées : pour les peintres au XVIIIe siècle, comme Jakob Philipp Hackert, il s’agit d’une escale en route vers l’Italie qui donne déjà un avant-goût de la pénin

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Zhu, Lei. "La peinture moderne chinoise est-elle née d'une idéologie politique?" Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030054.

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En Chine, à partir du XXe siècle, une tentative de modernisation dans la peinture chinoise ne cesse de la rapprocher de l‘Occident. Cette modernité, pour des artistes chinois, passe par l‘étude de la science et de la technique en Occident. Car l‘art en Occident est depuis longtemps lié à la science, fondé sur une technique et considéré comme une imitation du monde réel par la représentation de la perspective, de la couleur, de la lumière et de l‘ombre. En revanche, l‘art en Chine, de sa naissance à son autonomie, s‘est développé à partir d‘une interaction mutuelle, de l‘image de la nature : (l

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Gray, Sarah Willard. "Abstracting from the landscape a sense of place /." Access electronically, 2008. http://ro.uow.edu.au/theses/147.

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Pratt, Stephanie Rose. "The European perception of the Native American, 1750-1850." Thesis, University of Plymouth, 1989. http://hdl.handle.net/10026.1/2748.

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The thesis on which I have based my research proposes that while the European perception of the Native American from 1750 to 1850 came to be mediated via all the visual arts, it was specifically via the graphic media that the proliferation of imagery concerning the Native American developed certain iconic and representational conventions and that these consistently overwhelmed other sources of information, from experience to written interpretation. The ubiquity of certain modes of presentation, of figure-types, and of synecdoches which stood for the Native American (e.g. feather decoration or

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Guo, zei-wei, and 郭子維. "Travel freely in nature－chinese ink painting." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/hacf2y.

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碩士<br>長榮大學<br>美術系(所)<br>104<br>Chinese landscape has been existed for a long time that with different styles representing different creating ways of each dynasty. Even now, Chinese landscape is still developing a new style. In this age, it is hard to say which style can be represented because it is too short for the history fluid. One of the ways for the present Chinese landscape is observing and sketching the real views from the nature by the western method. Artist uses this western method that is different from the past on their performance, but it doesn’t change on the expressing of feeling

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HUNG, Chen-hui, and 洪震輝. "Observe the Nature ─ Research in Creative Chinese Painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/78131361976726378019.

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碩士<br>國立臺灣藝術大學<br>造形藝術研究所<br>96<br>The present paper take "Observe the Nature" as a topic, is for the purpose of indicating the drawing creation is a life part, is closely linked with the nature, is important element which the painter creates. Ideological trend blends which facing the thing culture art, is engaged in the traditional drawing creation the artistic worker, must ponder how under the maintenance outstanding tradition foundation, the penetration fine arts education, from the Chinese and foreign philosophy, the humanities, and in the drawing art thought derives the nutrition, establi

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Weng, Ya-Hui, and 翁雅慧. "Live In Natural—Painting Practice of The Relation Between Ruins and Nature." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/7963b6.

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碩士<br>國立東華大學<br>藝術與設計學系<br>107<br>The modern world is aplenty with various forms of art; it helps to fill the feeling of emptiness within us brought about by rapid advancements in technology. Human civilization is changing with the blink of an eye. However, if we blindly follow these changing trends in the realms of the art world, we are vulnerable to losing our own direction and vision; we will forget ourselves and our true essence. The most precious aspect of creating a piece of artwork is the creative process itself, to intentionally or inadvertently think outside the box and to search for

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Cheng, Chui Wen, and 朱文正. "The relation of natural world in painting －《Human and image of nature 》A study of series to create oil painting." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/48765969483665995482.

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Keui-Ying, Shin, and 施桂英. "Exploring Reality in Nature Regarding the Expression of Painting." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/64942471005411508798.

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碩士<br>中國文化大學<br>藝術研究所美術組碩士在職專班<br>95<br>This research probes into the problem of how to experience nature with all the things in this universe as teachers and the secrets of learning from nature in order to rediscover the primordial motive in artistic creation. Although it is possible to fathom the way of the universe, things changes momentarily. It is worthy of further study in how the eternity in an instant is captured in the paintings of some major artists. Focusing on impressionism, the researcher would like to examine the changes of landscape painting in the West. With the humanistic thin

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