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Dissertations / Theses on the topic 'Painting; Painter'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

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

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2

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

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3

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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4

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 t

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5

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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6

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

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7

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 set

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8

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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9

Baines, Lorena. "The artist's devices Illusionism and imagination in Gerrit Dou's 'Painter with a Pipe and Book' (Netherlands) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.90 Mb, 52 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428198.

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10

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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11

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 nat

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12

Goodyear, Alison. "Privileged, unique and temporary : interpreting aesthetic experiences of the painter-painting relationship through an address to and from practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12456/.

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This practice led research examines the art historical hypotheses of Denis Diderot and Michael Fried on the role of aesthetic absorption in painting practice. It engages with these hypotheses through collaboration with six contemporary abstract painters in an address to and from painting practice. The collaboration was conducted in order to examine aesthetic absorption from the perspective of studio practice in order to develop greater understanding of its relevance to contemporary abstract painting. This was achieved by completing six objectives. First, a lexicon of the terms surrounding aest

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13

Lax, Lucinda. "The 'ingenious moral painter' : Edward Penny, the Royal Academy and the reinvention of genre painting 1768-1782." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/4677/.

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Edward Penny (1714–1791) was the Royal Academy’s founding Professor of Painting and a frequent participant in the public art exhibitions that transformed London’s art world after 1760. Although Penny’s work has traditionally been dismissed as ‘tame’ and sentimental, recent scholarship now suggests that his mid-1760s exhibition paintings should be recognised as a highly significant attempt to apply the themes and concerns of historical art to accessible, contemporary subject matter. This thesis builds on these reinterpretations, but focuses on the still almost wholly neglected works from Penny’

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14

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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15

Hoffman, Rachel Gavronsky. "The Artist and Her Muse: a Romantic Tragedy about a Mediocre and Narcissistic Painter Named Rachel Hoffman." Scholar Commons, 2004. https://scholarcommons.usf.edu/etd/1081.

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Imagine a theater. Build one in your mind. I do not care if it is the largest theater in the universe or if it is the size of a shoebox. The theater can be an elaborate construction with gilded cherubs and priceless jewels. If you would prefer the theater to be a minimal design, imagine it that way. Maybe the theater is made out of glass or crystal. You can be all alone in the theater or maybe you are seated next to an alien, a cave man, or a robot. As the curtain rises an enormous pipe organ is spewing out J.S. Bach’s Toccata and Fugue in D minor. The sound is colossal. The stage is designed

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16

Martiníková, Zuzana. "Nepříliš známý malíř." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232411.

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Master's thesis called Not too well-known painter reacts on art of regional painter Jaromír Martiník. It is an exhibition of the work of this painter. Thanks to the intervention of author of this exhibition brings up his work into unusual context of artist from Beskydy, who is influenced by oriental philosophy.

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17

Kim, Soon-Hye. "Painted Shibori /." Online version of thesis, 1988. http://hdl.handle.net/1850/11505.

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18

Shiogi, Ann. "Connected Painted Rectangles Experiments in Quantitative Shape and Contrasting Elements." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4670.

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The thesis consisted of a series of paintings in which the canvases were individually painted in a predetermined way, then arranged and assembled more spontaneously in a final wall construction. Narrow limitations, such as working with only horizontal and vertical compositions and contrasting colors were specified. By working within a method or procedure, and by remaining strict to these guidelines, the ideas inherent in the paintings emerged and were then promoted. The dominant ideas that developed out of the process of making the paintings were the use of both "found" shapes -found in leftov

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19

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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20

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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21

Tongo, Gizem. "Ottoman painting and painters during the First World War." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:93232fd7-f634-4b8c-a6f7-16e7eb13b179.

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This study focuses on the Ottoman art world during the First World War and explores how the war changed the conditions of art production, its agents, and the art itself between 1914 and 1918, a topic that has remained peripheral to international cultural histories of the First World War and modern art more generally. In modern Turkish history and art history too, the art of the war years has either been overlooked - buried in the images of the Independence War that followed - or distorted for ideological purposes - emphasizing the militaristic and pro-war aspects of wartime artworks and margin

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22

Dupuis, Matthew. "Charles Lebrun : painting the king and the king of painting." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26684.

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This thesis examines the transformation in the representation of painters during Charles LeBrun's tenure as Life-Chancellor to the Academie Royale de Peinture et de Sculpture, from an initial definition in terms of the monarchy at Versailles to one founded on the practice of the art of painting. To promote the status of painters and painting, Louis XIV was celebrated as the protector of the arts in a royal portrait by Henri Testelin and was depicted as the ideal subject of art in paintings by Nicolas Loir and others. A painter's stature was then derived from the skillful manner in which he pai

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23

Palonka-Cohin, Anetta. "La peinture religieuse dans le Haut-Maine au XVIIe siècle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040176.

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Le recensement des tableaux du XVIIe siècle conservés dans les églises sarthoises a permis de constater une forte activité des peintres manceaux à cette époque, jusque là encore très mal connue. Pourtant, elle a contribué à l’élaboration d’une manière propre aux milieux artistiques manceaux d’alors qui ont su prolonger loin dans le siècle la séduction du maniérisme, sans pour autant raidir celui-ci. La prédominance, puis la persistance du maniérisme s’expliquent par l’immense diffusion de la gravure anversoise à la charnière des XVIe et XVIIe siècles. Plus tard, l’autorité des maîtres parisien

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24

Saigne, Guy. "Léon Bonnat (1833-1922) portraitiste : Catalogue raisonné des portraits peints, dessinés et gravés." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040202.

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Léon Bonnat (1833-1922) reçoit sa formation artistique en Espagne, puis dans l’atelier parisien du peintre Léon Cogniet, enfin à Rome. Ses premières grandes compositions religieuses lui apportent très tôt le succès, la renommée, les commandes de l’État, et ses scènes de genre italiennes ou orientalistes sont achetées par la clientèle privée. Vers le milieu des années 1870, il se tourne définitivement vers la peinture de portrait dans laquelle il remporte un immense succès faisant de lui, selon ses contemporains, l’un des plus grands portraitistes de son époque. Il peint les portraits des repré

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25

Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.

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26

Razem, Maiss Jebriel. "Painterly Conception of Architecture." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/34755.

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The art of painting opens vast expressive possibilities for architecture, wherein architecture can produce a more conducive atmosphere for the contemplation of painting. The subtle affinities between the two fields stirred me to explore the individualistic expressiveness of the sensory realm in a painting and how it can inspire an architect. My thesis starts from an interest in a painting of Kandinsky's. The painting "Yellow, Red, Blue" stirred my curiosity in the potency of its beauty and made me ask questions in regards to what I can capture, learn and express architecturally. The aim is to

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27

Moody, Michael Raymond. "Painted from memory : the visual representation of personal memories and their coinciding emotions." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259757.

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Memories of the past are a powerful part of human existence. The pastremembered affects who we are as a person as well as the decisions we make in our lives. As we grow older and time passes these memories begin to fade. Specific details about events in the past become fuzzy or are gone all together. We may still remember what occurred and the emotions felt as it happened but exact records of the events begin to be lost. Is it possible to visually represent personal memories and the coinciding emotions in a way that can convey the said emotions to a viewer? How much of the human experience is

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28

Simonsen, Garric. "Some artists paint paintings." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/g_simonsen_042110.pdf.

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29

Lee, Sai-chong Jack. "Painting in western media in early twentieth century Hong Kong /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19668296.

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30

Narayanan, Bethany M. "The painted barns of southeastern Indiana : decorative painting and commercial advertisement." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214383.

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Many barns in the United States were painted at one time, most of them a solid color, usually red or white. A small proportion of barns were further embellished with decorative painting or commercial advertisements.This creative project studies such decoratively painted barns. It examines the reasons barns were painted, the materials and methods used in painting, and color preferences. It describes the four major types of decorative barn painting, and it traces the history of advertisements painted on barns, with special focus on the advertising campaign for Mail Pouch Tobacco.The project also

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31

Allen, Ruth Esther. "Clement Greenberg : pure art in an impure world." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433966.

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32

Siu, Fun-kee, and 蕭芬琪. "The conventional and the individual in Fu Baoshi's (1904-1965) painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245912.

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33

Ryu-Paganini, Naeyoung. "L'oeuvre de Yun Duseo (1668-1715), peintre-lettré coréen à l'époque "prémoderne"." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAG032/document.

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L’œuvre de YUN Duseo (1668-1715), peintre lettré ayant vécu lors de la dernière monarchie coréenne, reflète la forte sinisation de la société de l’époque. Cette œuvre est un fruit de la civilisation du « monde chinois », et interroge les principes esthétiques et le statut de la peinture dérivés de la doctrine néo-confucéenne, doctrine elle-même ici associée à des doctrines souvent considérées comme opposées, le taoïsme et le bouddhisme. YUN Duseo invente une peinture « pré-moderne » qui met en valeur de manière nouvelle des figures humaines, les portraits en particulier, et donne une nouvelle

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34

Cottrell, Philip. "Bonifacio's enterprise : Bonifacio de'Pitati and Venetian painting." Thesis, University of St Andrews, 2001. http://hdl.handle.net/10023/2751.

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This dissertation takes the form of a chronologically arranged, biographical survey of the career of Bonifacio de' Pitati in the form of seven interconnected essays that address areas in which the artist's impact and contribution to Venetian painting is in need of definition. These chapters are in turn subordinate to a format that splits itself into the following three parts: Part One deals with Bonifacio the artist; his life, reputation and his early emergence from Palma's studio: In summarising the archival and critical heritage, Chapter One addresses the changing identity and reputation of

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35

Riede, Danielle Felice. "Paint Chip Dreams." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/35.

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This thesis summarizes Danielle Riede's current art practice by detailing her materials, processes and inspiration. It also contextualizes her "Room Paintings" within the context of art history and contemporary art-making.

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36

Barilo, von Reisberg Eugene. "Tradition and innovation : official representations of Queen Victoria and Prince Albert by Franz Xaver Winterhalter /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7154.

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37

Constantin, Stephanie. "The painters of the Barbizon circle and landscape painting : techniques and working methods." Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289372.

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38

Graves, Andrew. "A user's guide for painters and cyclists : very abstract painting and serious cycling." Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/21175/.

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This practice led research investigates the relationship between cycling and abstract painting. It is a written commentary presented alongside my artwork that gives voice to my studio practice. The history of abstraction and cycling are explored to discuss the myths and nuances of painterly practice, cycling and the studio. The text is an assemblage or collage, put together to represent the modality of interests in the studio and an exploration of key motivations that have driven my practice during this research. There are chronological and parallel developments in the history of Modernist pai

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39

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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40

Sherwin, Fiona Gill Harry P. "Harry Pelling Gill, a practising artist /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahms5541.pdf.

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41

Konoshima, Nanako. "Dickens and the Visual Arts: Literary Imagination and Painted Image." 京都大学 (Kyoto University), 2014. http://hdl.handle.net/2433/189331.

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42

Setti, Godfrey. "An analysis of the contribution of four painters to the development of contemporary Zambian painting from 1950-1997." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002218.

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This study presents an analysis of the contribution of four painters to the development of contemporary Zambian painting, from 1950 to 1997. This is preceded by a brief history of Zambian painting, including Bushmen rock painting and early Bantu art, which is followed by an account of the way western influence, introduced by the white man, started changing the style of painting in the country as it began to affect indigenous artists. In the work of artists who began painting from about 1900 to 1950, both western and traditional stylistic influences can be seen. While the painters whose work is

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43

Mare, AE. "EL Greco's Italian paintings (1560-76) based on Bible texts." Acta Theologica, 2009. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001368.

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Abstract The purpose of this article is to interpret a selection of El Greco’s Italian paintings (1560-1576) based on Bible texts in which ideas current during the Catholic Counter- Reformation are symbolised. At the age of nineteen El Greco, who was born in Crete in 1541 and was initially an icon painter in the Byzantine tradition, went to Venice. Through study and experiment, and by following the examples of other artists who had achieved artistic mastery and was of proven Catholic orthodoxy, he educated himself as an artist in the Western manner. Even during his years as an apprentice El Gr

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44

Nicolaisen, Lelani. "Immersed in paint : Understanding painting installations through art practice." Mini-Dissertation, University of Pretoria, 2017. http://hdl.handle.net/2263/65593.

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45

Maor, Yonah. "Delamination of oil paints from acrylic grounds." Thesis, Kingston, Ont. : [s.n.], 2008. http://hdl.handle.net/1974/1487.

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46

D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.

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This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wide

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47

Lillehoj, Elizabeth Ann. "The art of Soga Chokuan and Nichokuan, two painters of sixteenth and seventeenth-century Japan." Ann Arbor : UMI, 1993. http://catalog.hathitrust.org/api/volumes/oclc/51344711.html.

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48

Siu, Fun-kee. "The case of Wang Yiting (1867-1938) : a unique figure in early twentieth century Chinese art history /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21415274.

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49

Pfarr, Theresa Faye. "PAINT MEDIATIONS." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd_retro/132.

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AbstractPAINT MEDIATIONS Theresa Faye Pfarr, Master of Fine ArtA thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Art at Virginia Commonwealth University.Virginia Commonwealth University, 2004Major Director: Ruth Bolduan Associate Professor, Painting and Printmaking DepartmentMy paintings are contentions. I work in response, answer, and reaction to the media world. I carry a collection of incongruent images in my mind, bits and parts of the images I deal with everyday. The images stuff my mailbox, clutter my space and get in my head. I am q

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50

Howard, Helen Catherine. "The pigments of English medieval wall painting." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369503.

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