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Dissertations / Theses on the topic 'Restoration of art paintings'
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Harkett, Daniel. "Exhibition culture in Restoration Paris." View online version; access limited to Brown University users, 2005. http://catalog.hathitrust.org/api/volumes/oclc/73488260.html.
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Thesis (Ph.D.)--Brown University, 2005.<br>Vita. Thesis advisor: Kermit S. Champa. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 271-289).
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Bayle, Beatrice. "Conserving mural paintings in Thailand and Sri Lanka : conservation policies and restoration practice in social and historical context /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7144.
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Jurnienė, Lina. "Dubliavimo metodų taikymas molbertinės tapybos restauracijoje: istorinės patirtys ir dabarties praktika." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_155632-74366.
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Šiame diplominiame darbe autorė apžvelgia buvusius ir dabartyje taikomus molbertinės tapybos dubliavimo metodus bei naudojamas medžiagas. Aprašomi žinomi paveikslų dubliavimo būdai Europoje.Nagrinėjami molbertinės tapybos paveikslų dubliavimo metodai LDM Prano Gudymo restauraimo centre, taikyti nuo įsikūrimo iki šių dienų. Lyginami įvairūs, skirtingų kūrinių konservavimo, dubliavimo atvejai. Detaliai aprašomas paveikslo "Biblijinė scena" konservavimo, dubliavimo procesas. Šiame darbe senieji žinomi molbertinės tapybos dubliavimo būdai bei panaudotos medžiagos lyginami su dabarties praktika ir metodais. Tyrimas atskleidė, jog kiekvienam darbui reikalingas kūrybiškas, metodiškas, mokslinis paveikslų konservavimo, dubliavimo metodas bei taikomos medžiagos.<br>Author of this Master’s Thesis reviews former and present methods and techniques of the lining of canvas paintings. Furthermore, all known European lining methods are described. Lining methods of the canv-as painting applied in Pranas Gudynas Center for Restoration since its foundation until present days are reviewed. Author reviews various cases of conservation and lining of the canvas paintings in Lithuania. Thesis describes in details conservation and lining process of the painting “Biblical Scene”. Old canvas paintings methods of lining, including the material used for lining, are compared in this Master’s Thesis. Research made reveals the fact that each piece of art needs creative, methodological, scientific approach to the conservation and lining methods and the materials used.
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Theodorakopoulos, Charalampos. "The excimer laser ablation of picture varnishes : an evaluation with reference to light-induced deterioration." Thesis, Royal College of Art, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602333.
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Zhou, Yang. ""Sposalizio di S. Caterina" of Adriaen Isenbrant: diagnostic analyses of the painting with the aid of restoration." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/27682.
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Abstract: This study investigates the conservation status, previous intervention, executive techniques and pigment materials of the painting “SPOSALIZIO DI S. CATERINA”, attributed to Adriaen Isenbrant back to 16th century. The analysis was carried out based on the combination of scientific examination and restoration exploration. The scientific examination includes both in-situ non-invasive techniques and laboratory micro-destructive techniques. Non-invasive examination consists of the application of ultraviolet fluorescence (UVF), infrared reflectography (IRR), infrared false color (IRFC) and energy dispersive X-ray fluorescence (ED-XRF), whereas micro-destructive analysis comprises optical microscope (OM). The obtained results revealed that the painting was in a relatively good condition with several times of previous restoration, it was painted with typical Flemish painting techniques and materials in 16th century: a panel made of chestnut wood, a preparation layer composed of lead white colored in pale grey and brownish-orange, few of underdrawings and some pentimenti, with the palette composed of cinnabar and red ochre for red, verdigris or malachite for green, azurite for blue and yellow ocher for yellow. Moreover, this study provides an evidence that restoration, in particular during the cleaning of the painted surface and panel restoration process, is also acting as a very useful tool for painting investigation, being complementary with scientific examination, therefore it is of necessity to correctly and timely gather the information during the restoration process.
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Blažiūnas, Juozapas. "VILNIAUS SAKRALINĖS MOLBERTINĖS TAPYBOS KŪRINIŲ TVARKYBOS ISTORIJA NUO XVI A. IKI 1939 M." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130627_103124-18418.
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Disertaciją pradeda bendra visos Vakarų Europos tapybos kūrinių atnaujinimo istorijos apžvalga, pirmųjų žinomų faktų apie tapybos kūrinių priežiūrą ir atnaujinimus Lenkijos karalystėje ir Rusijoje, o pratęsia Vilniaus bažnyčių ir vienuolynų sakralinių bei privačiuose rinkiniuose buvusių paveikslų tvarkybos analizė, tikintis išsiaiškinti bendrus istorinius dėsningumus. Bendrųjų Vilniaus miesto paveikslų tvarkybos istorijos bruožų kontekste šioje disertacijoje kaip atskiras tyrimo objektas nagrinėjami Vilniaus Šv. Pranciškaus Asyžiečio ir Šv. Bernardino Sieniečio (Bernardinų) bažnyčios ir bernardinų vienuolyno aplinkoje sukurti paveikslai bei jų atnaujinimo darbai.
Disertacijoje pateikti paveikslų tvarkybos faktai kultūros istorijos kontekste atskleidžia, kodėl buvo atnaujinami meno kūriniai, kaip tokių darbų metu keitėsi paveikslai, kokie veiksniai buvo lemiami parenkant kūrinius tvarkyti: ar darbus lėmė kūrinio autorystė, siužetas, istorija, „dieviška kilmė“, „stebuklų veikimo laukas“ ir gerbimas – o galbūt tiesiog kūrinio būklė.
Vilniaus bažnyčių ir vienuolynų paveikslų tvarkybos istorija nagrinėjama platesniame kultūrinių reiškinių kontekste, apimančiame ir bendras paveikslų atnaujinimo tendencijas Vilniaus vyskupijoje bei įvairius istorinius ir kultūrinius įvykius, kurie irgi lėmė meno kūrinių išsaugojimą.
Dėl didelės darbo apimties, tyrimo naujumo ir pobūdžio nesiekta surinkti visų įmanomų duomenų apie nagrinėjamu laikotarpiu atnaujintus tapybos kūrinius, o tik... [toliau žr. visą tekstą]<br>The dissertation starts with a general overview of painting restoration history in Western Europe, the analysis of the first known facts about care and maintenance of paintings in the Kingdom of Poland and Russia, and is followed by an analysis of management of sacral paintings those were located in Vilnius churches and monasteries or were a part of private collections, conducted in order to determine general historical regularities. Comprehensive research on paintings of Vilnius Bernardine Church and Monastery from the aspect of management history is a factor that reveals broader and more in-depth processes of the phenomenon under investigation.
The facts of painting management in the historical context that are presented in this dissertation reveal why these pieces of art were restored, how did the paintings change in the process of such work, what were the key factors behind choosing the pieces for restoration: was the choice based on the artist, or painting’s content, history, “heavenly origin”, “field of its miraculous influence” and respect – or just the condition of the piece.
This creates favourable conditions to examine the paintings from a chosen aspect, i.e. to analyse the history of painting restoration in a specific environment, and to compare the results of the analysis with general tendencies in Vilnius church and monastery painting management.
Due to the large volume of work, the novelty of the research and its nature, there was no intention to gather all the... [to full text]
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Svahn, Garreau Hélène. "I originalets tjänst : Om framställandet och bevarandet av kalkmåleri i svenska kyrkorum mellan 1850 och 1980." Doctoral thesis, KTH, Arkitekturens historia och teori, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-171078.
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There are approximately 1300 completely or partially preserved medieval churches in Sweden. Many of these have remains of kalkmåleri (mural paintings at least partially created in lime) from the 12th throughout the 17th century. This dissertation discusses the enactments that formed the revival of this kalkmåleri between 1850 and 1980, with a focus on restoration and conservation. The decorative and monumental paintings that were created at the same time are also discussed. The study is divided into two sections: one concentrates on the mural paintings and the networks that made their (re-)enactment possible, and the second is a case study that examines kalkmåleri in four medieval churches; Vendel and Ed north of Stockholm, and Floda and Vadsbro south of Stockholm. To come close to the paintings, an eclectic methodology with analysis of written and depicted sources, interviews, and studies in situ of the paintings through mapping and analysis of taken samples was designed. The objectives were to investigate the formation of kalkmåleri as phenomena, significant concepts, and conservation practices throughout time and space. Theoretical inspiration was taken from Actor-Network-Theory, critical discourse analysis, and speculative realism. Throughout the study the kalkmåleri is thus seen to have agency. The weave of enactments stemming from different professions and thought collectives that formed the paintings was made visible by following the actors. Some of these enactments were analyzed: i.e. the aesthetic shaping of the room, as religious and iconographic images, historical documents, art, style, technical, or hybrid objects. The latter refers to conservation that did not entirely rely on science, humanist scholarship, craftsmanship, or artistic creativity. Thus conservation is seen as a hybrid activity. Three periods of conservation principles were explored: stylistic restoration, original conservation, and precautionary conservation, which were related to what was perceived as the authentic original. Furthermore some Swedish "traditions" are discussed: that no institute for technical studies of art was formed, the use of "Curman’s principles", restricted retouching from the 1960s onward, and the use of gomma pane for cleaning. Finally appendices are included containing terminology, an index of conservators, and a DVD with mapping, chemical analysis, and photographs.<br><p>Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.</p><p>Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik & Lily Philipsons minnesfond och Axelson Johnsons stiftelse.</p>
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Ferrari, Alessandra. "Conservação e restauro de pintura: um mural de Carlos Páez Vilaró de 1974." Universidade Presbiteriana Mackenzie, 2006. http://tede.mackenzie.br/jspui/handle/tede/2737.
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Previous issue date: 2006-08-10<br>The conservation and restoration of mural painting conceived in this investigation from Carlos Paez Vilaró s painting restoration study, suggests reflections on intervention criteria and methods. The cutting out of the research tried to understand not just the theoretical material and multidisciplinary investigation, but the complexity inherent to the restoration of the artistic object in what refers to the challenges assumed by the restorer and all those that that have the custody of cultural assets. This research has been guided, in order to consolidate the relevant criteria, by
selecting a mural painting offering discussions around the complexity of its implications in the choice of intervention criteria. Restoration was carried successfully, being subsequently redone under request of the painting owner. Such an event opened the discussion as for the criteria and concepts of restoration.<br>A conservação e o restauro da pintura mural concebida nesta investigação a partir do estudo do restauro da pintura de Carlos Paez Vilaró, sugere reflexões sobre critérios e métodos de intervenção. O recorte da pesquisa procurou compreender
não apenas a investigação material e teórica multidisciplinar, mas a complexidade inerente à restauração do objeto artístico no que se refere aos desafios por parte do restaurador e de todos aqueles que possuem a custódia de bens culturais. Esta
pesquisa orientou-se, a fim de consolidar os critérios pertinentes, selecionando uma pintura mural que oferecesse discussões em torno da complexidade de suas implicações na escolha dos critérios de intervenção. O restauro foi realizado com sucesso, sendo posteriormente refeito a pedido do proprietário da pintura. Tal acontecimento abriu a discussão a respeito dos critérios e conceitos de restauro.
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Pedragosa, Garcia Núria. "La conservació del revers. Criteris de restauració del suport de tela de la pintura catalana moderna com a testimoni històric i artístic." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/672482.
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Cada quadre conté diferents tipus d'informació. El missatge estètic és el que acostuma a centrar l'atenció dels analistes, però no és l'únic. Existeix tot un altre cúmul de dades que poden donar-nos coneixement. El suport de l'obra pictòrica n'és un, i el revers és la superfície d'aquesta matèria. Les diverses capes de preparació que fan de coixí a la pintura, les diferents tipologies de bastidor i de tela de suport, les inscripcions de l'artista al dors, el marc o els segells distintius que ha anat reunint l'obra d'art, constitueixen una font de coneixement essencial, una autèntica cara oculta de la pintura. Però de la mateixa manera que no hi ha cap revers idèntic, hi ha un fenomen d'envelliment col·lectiu que els iguala. També existeix una xarxa interna que relaciona les obres entre si quan es troben agrupades en una mateixa col·lecció i el temps hi va deixant la seva empremta.
L'objectiu d'aquesta tesi és justament indagar sobre els indicis històrics, teòrics i físics d'aquestes traces en els reversos dels quadres, defensant la necessitat de preservar-les i també mostrar les tècniques que poden fer possible la seva conservació. La investigació d'aquesta tesi se centra en pintura catalana sobre tela cronològicament situada entre els inicis del segle XIX i la dècada dels anys trenta del segle XX a través de la col·lecció permanentment exposada del Museu Nacional d'Art de Catalunya. És especialment important resseguir la repercussió que té, des del punt de vista dels materials, l'evolució industrial catalana amb els consegüents efectes comercials. De la utilització del lli o el cànem es passa a la incorporació del cotó com a element innovador per l'abaratiment que comportava. Apareixerà una estandardització dels formats que trencara amb la tradició artesana dels pintors que havien emprat uns suports més rígids, tendint cap a materials més lleugers. Aquests i altres elements característics de la morfologia dels suports de les pintures mereixeran l'atenció de la primera part de la tesi.
En el segon capítol procedirem a l'anàlisi detallada dels reversos d'obres concretes i de pintors representatius de l'època estudiada, a partir de la selecció establerta pel projecte museogràfic del MNAC. La informació bibliogràfica específica sobre reversos de pintures sobre tela i els materials artístics a Catalunya, així com sobre els procediments pictòrics, és relativament escassa, cosa que obliga a recollir la majoria de dades de primera ma directament del material analitzat. El treball de camp esdevé així una fase necessària, que sorprèn i satisfà pel que té d'inexplorat i per la voluntat que aquesta recerca documental esdevingui un marc de coneixement per a futures investigacions.
La progressiva consciència dels conservadors-restauradors per trobar solucions idònies a la degradació de les obres, està creant un interessant camp d'investigació practica en el qual professionals de passos diversos experimenten noves tècniques que puguin harmonitzar una continuïtat física dels materials de suport tèxtils. És per això que aquesta part dedicada als criteris d'intervenció desenvolupara mètodes actuals com la sutura de fils amb adhesius termofusibles i la documentació sistemàtica dels reversos que enceten una via imprescindible per a resguardar íntegrament el patrimoni artístic sobre tela.
L'última part d'aquesta tesi consisteix en el Catàleg de reversos de la col·lecció permanent d'art modern del MNAC. És un inventari visual i indexat dels objectius i l'abast d'aquesta tesi i resulta, en si mateix, una obra inèdita. Juntament amb la Galeria de reversos - que selecciona i mostra en detall els reversos més significatius, i més bells, de la col·lecció - fa visualitzar tot allò que, en ser documentat, proposa la necessitat ineludible de conservar-ho.
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Leang, Marguerite. "Pénétration d'un solvant dans un gel poreux en consolidation : application à la restauration des oeuvres d'art." Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLS469/document.
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La restauration des peintures d'art consiste à restaurer la lisibilité d'une œuvre d'art et à préserver son intégrité. La plupart des techniques consiste à déposer des solvants juste en surface afin de ne dissoudre que la couche de vernis. Cependant, les couches sous-jacentes risquent d'être endommagées par la pénétration de ces solvants, causant éventuellement un gonflement ou un craquèlement de ces dernières. Du fait de la complexité physico- chimique de la couche picturale, nous proposons d'étudier la pénétration de solvants dans un nanoporeux modèle issu du séchage contrôlé de dispersions aqueuses de nanoparticules de silice. Le séchage et la consolidation de ces dispersions colloïdales jusqu'à l'apparition de craquelures de séchage sont étudiés. La réflectivité de neutrons et la diffusion de neutrons aux petits angles permettent d'accéder à la structuration des systèmes en surface et en volume, respectivement, au cours du séchage. L’étude expérimentale des ouvertures de craquelures dues au séchage, associée à un modèle de poroélasticité que nous développons, renseigne sur les propriétés mécaniques des systèmes consolidés et du tableau « Jeanne d'Arc en prison » (1824) du peintre français Louis Crignier (1790-1824). La caractérisation du milieu poreux formé après la consolidation est réalisée par imagerie de neutrons et permet de déterminer la perméabilité et les porosités des milieux. Enfin, nous présentons la dynamique d'imprégnation d'une goutte sessile de solvant dans plusieurs milieux poreux, qui diffèrent de par leur taille de pores. Notre montage expérimental permet une quantification précise et directe des écoulements au-dessus et à l'intérieur du milieu poreux. Des mesures de propriétés mécaniques sont réalisées avant et après imprégnation par micro-indentation<br>Art painting restoration aims to restore the readability of a painting and to preserve its integrity. Most of the techniques consist of depositing solvents on the surface of the painting to dissolve the varnish layer. However, the sublayers can be damaged by the penetration of the solvent, possibly resulting in swelling or cracking processes. Due to the physical and chemical complexity of the pictorial layer, we propose to study solvent penetration in model nano porous media obtained by controlled drying of aqueous silica nanoparticles dispersions. Drying and the consolidation process of these colloidal dispersions are studied until drying cracks appear. Neutron reflectivity and small angle neutron scattering provide structural information on particles near the interface between the dispersion and the air and in the bulk, respectively, during drying. The experimental study of drying cracks, associated to a poroelastic model, inform on mechanical properties of consolidated model systems and of the painting “Jeanne d'Arc en prison” (1824) by the French painter Louis Crignier (1790-1824). Characterization of the porous media obtained after consolidation is carried out with neutron imaging to determine the permeability and the porosities of the porous media. Finally, we present the dynamics of imbibition of sessile solvent drops on several porous media with different pore sizes. Our experimental set-up provides a precise and a direct quantification of the different flows outside and through the porous media. Mechanical properties are performed before and after solvent imbibition, by micro-indentation testing
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Watson, Leonie. "Collecting the self paintings /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070821.122506/index.html.
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Zhang, Naijun. "Recent paintings untitled /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1642.
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Thesis (M.F.A.)--West Virginia University, 2000.<br>Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).
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Sapwell, Mark Andrew. "Art of accumulation : the role of rock art palimpsests in Fennoscandia 4500-1200 BC." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648511.
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D'Elia, Una Roman. "The poetics of Titian's religious paintings /." Cambridge : Cambridge University Press, 2005. http://catalogue.bnf.fr/ark:/12148/cb39938959v.
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Land, Robert William. "Little Paintings." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1035.
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Little Paintings is a document that describes the creation, influences and process of two films, "Betty Creek" and "New Berlin". The films are personal responses to my experiences growing-up and living in the Southern United States. The Thesis illustrates the influences of painters such as Jimmie Lee Sudduth and Willie Jinks and how their raw painting methods inspire the development of my films using a tactile approach to filmmaking.
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Phillips, Shirley. "Bellori's ekphraseis of Poussin's paintings." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343269.
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Ritter, Domink. "The art of suicide : the pain in paintings." Thesis, University of Hertfordshire, 2009. http://hdl.handle.net/2299/2804.
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This research projects deals with the question of whether the paintings of artists who have committed suicide is reflective of their mental states both in terms of content and form. It specifically attempts to answer whether the deterioration in mental state from a time of better mental health to the time of their suicide is expressed graphically in the paintings of those artists and whether this can be reliably observed. It was discovered that paintings in the absence of contact with or interpretation by the artists, provided enough information to enable non-expert judges to make reliable global content-related judgements (e.g. destructiveness and hopelessness) as well as form-specific ratings (e.g. lack of detail) that distinguished between paintings created near the time of artists’ suicides and their paintings created at a time of better mental health as well as paintings from artists who were suffering from depression. It was also found that non-expert judges were able to correctly identify paintings that were created just before artists’ suicides as reflecting serious mental health problems. Furthermore, it was discovered that there was a general preference for paintings from depressed artists over the last paintings by artists who have taken their own lives. The implications of these findings for clinical work both in terms of assessment and treatment were discussed. Furthermore, several limitations of this research project were noted and suggestions for future research were provided.
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Garlake, Peter Storr. "Rock art in Zimbabwe." Thesis, SOAS, University of London, 1992. http://eprints.soas.ac.uk/29499/.
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This work is based on the comparative iconographic analysis of a distinct corpus of paintings within the Later Stone Age, Bushman or San art of southern Africa. They are distinct from the rest of the paintings of the region in age, numbers, variety, complexity and density. It defines in detail the principles that determined the form of the paintings - where the primary concern was to depict objects through outline alone - and the canon - the very restricted range of subjects that were depicted. It demonstrates that the human imagery established a set of archetypes, expressing concepts of the roles of men and women in the community through a set of readily legible attributes. The art was thus in essence conceptual and, of its nature, not concerned with the individual, illustration, narrative, documentation or anecdote. Within this framework, the paintings focused on concepts of the various forms and degrees of supernatural energy or potency that all San have believed to be inherent in every person. Further studies demonstrate how large and dangerous animals, particularly the elephant, were conceived as symbols of potency and their hunting as a metaphor for trance. Compositions based on oval shapes and the dots within and emanating from them are shown to be further symbols of aspects of potency. Many recurrent and hitherto ignored motifs attached to human figures are shown to be a graphic commentary on the metaphysics of the archetypes. The study is set in the context of the archaeology of the sub-region, recent studies of San concepts, perceptions and beliefs, a review of previous research, and a critique of influential recent South African work which first integrated paintings with San beliefs.
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Streeter, Stephanie. "Stray: Paintings, Drawings, and Sculpture." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/18.
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The artist discusses her Bachelor of Fine Arts Exhibition, Stray, held at Slocumb Galleries, East Tennessee State University, from April 4th to April 8th. The show exhibit consists largely of self-portraits derived from the artist’s dreams, in an array of media including mixed media on paper, oil on canvas, and wire frame sculpture, all completed in the Spring of 2011, with the exception of one sculpture.
Ideas explored include the influence of dreams, representation of the self, masking, disguising, the loss of home, and the tendency of memory to fade. Influences discussed include the written work of Milan Kundera, as well as the painting of Marlene Dumas, the early printmaking of Paul Klee, and the work of John Currin.
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Zoller, Ian J. "The Paintings of Jeff Koons: 1994 - 2008." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/70251.
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Art History<br>M.A.<br>"The Paintings of Jeff Koons: 1994 - 2008" is an in depth look at the painting of an artist who is still primarily known for his sculptural work of the 1980's. This thesis examines Koons' paintings in light of his previous work and looks at his studio practices, sources, connection to Photorealism, Surrealism, and Duchamp, etc. The thesis contends that a greater understanding and appreciation for Koons' paintings is necessary in order to grasp the importance of his entire oeuvre.<br>Temple University--Theses
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Slaight-Brown, Shannon M. "Restoration." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4890.
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The marks I make in clay have different characteristics, and the physical mark of one’s fingertips or visual record of the hand is personal and intimate. This visible activity is the evidence of my constant presence and control within each object. Its repetitive meditation produces a private relief from my persistent anxieties. This exploration for me is not only visual, but also physical. This is the start of my infatuation with the idea of pattern. It has its own discrete visual language and modes of communication; and through my research I am developing a method of intercommunication.
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Zdanovec, Aubree. "Seduction| A feminist reading of Berthe Morisot's paintings." Thesis, The University of Arizona, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10129125.
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<p> Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her ac-complishments in a generalized history of the French Impressionist movement. I ana-lyzed nine of Morisot’s paintings and applied feminist theory, including third-wave feminism (post-1960’s). My research was angled to approach and understand Morisot’s artwork as a contemporary woman would at an exhibition.</p>
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Rosenthal, Elizabeth A. "Advances in art restoration involving computers and nanotechnology." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1044.
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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 Humanities<br>History
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Katsutani, Yuko. "Les peintures murales de Saint-Bonnet-le-Château : à la recherche de leur auteur (fin du XIVe-début du XVe s.)." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAG044.
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Les peintures murales de la chapelle basse de la collégiale de Saint-Bonnet-le-Château présentent un riche programme iconographique, supposant la succession de commanditaires distincts au début du XVe s. La première phase fut dévotionnelle ; la seconde affecta le décor de la voûte, à l’initiative d’Anne Dauphine, et proposa avec les Anges musiciens une iconographie élaborée, inspirée mais adaptée de l’exemple du Mans, en hommage à son époux défunt, Louis II, duc de Bourbon. Le talent de l’artiste, Louis Vobis, fut de lier les parties les unes aux autres. L’étude iconographie et stylistique définit les modèles et l’esthétique du maître passé par Avignon et Paris, informé des expériences des enlumineurs du duc de Berry et de l’art savoyard<br>The murals paintings of the lower chapel in Saint-Bonnet-le-Château’s collegiate church present a rich iconographic program, assuming a succession of distinct sponsors at the beginning of the 15th century. The first phase was religious devotion from the wealthy bourgeoisie; the second one affected the decoration of the vault in Anne Dauphine’s initiative, and represented the Musician Angels, an elaborate iconography, inspired by the example of Le Mans, in the memory of the duchess’s late husband, Louis II duke of Bourbon. The talent of the artist, Louis Vobis, was to link the different artistic styles. The iconographic and stylistic study defines the models and the aesthetics of the master who had his training in Avignon and Paris. In Avignon he was influenced by the Italian style and in Paris studied under Duke of Berry in the miniaturist style. He had influenced by the Savoyard art too
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Hackmann, Max M. "Icons of Hedonistic Perfection: Mel Ramos’ Paintings 1963-1969." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1276999207.
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clark, jared lindsay. "One Million Paintings 2005-2007: A Thesis." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/935.
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I assist discarded collectives of objects to volunteer themselves for inclusion into the privileged legacy of flatness – assuring them they can be transformed into Painting. Reducing my interventions - often to mere arrangement - respects the possibility of this transformation while frankly retaining the objects' original functional identities. Every surface of any object is a readymade painting – especially flat ones. By stacking objects and aligning their surfaces on one privileged side into a flat mega-surface, I am composing and collaging – even building – a painting. With my amateur interest in German I latch upon the double meaning of "Bild" to title my objects, describing my continued interest in the space between painting and sculpture. All my projects transform found objects into ambiguous objects described by Donald Judd as "neither painting nor sculpture". In addition to the Bilds projects such as the Cutllages, the Kitsch Paintings, Soap Drawings, Text Tubes, and List Drawings investigate different ways to transform the found object into painting.While my work is formalist it is decidedly post-modernist in its embodiment of the qualities described by Craig Owens in The Allegorical Impulse: Toward a Theory of Postmodernism.
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Zdanovec, Aubree, and Aubree Zdanovec. "Seduction: A Feminist Reading of Berthe Morisot's Paintings." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/620716.
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Berthe Morisot was one of the founders of the French Impressionist movement in the nineteenth century. However, she is not researched with the same level of respect as her male Impressionist counterparts. Scholars often rely on her biography to analyze her artwork, compare her to other women artists, or briefly mention her accomplishments in a generalized history of the French Impressionist movement. I analyzed nine of Morisot's paintings and applied feminist theory, including third-wave feminism (post-1960's). My research was angled to approach and understand Morisot's artwork as a contemporary woman would at an exhibition.
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Steynberg, Peter John. "A survey of San paintings from the southern Natal Drakensberg." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004918.
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From Introduction: The study of San rock art has undergone several different phases in approach to the interpretation of art. Two approaches are currently in use. The first emphasises the art as narrative or literal representations of San life and its proponents may be called the "art for art's sake" school. Adherents to the second approach make detailed use of the San ethnography on the belief system of these people and are highly critical of the literalists because they provide no such context. The second approach has rapidly gained ascendancy and replaced the "art for art's sake" school over the last twenty years. The watershed came with the researches of Vinnicombe (1967) in the southern Drakensberg and Maggs (1967) in the Western Cape who both embarked upon programs of research which had quantification and numerical analysis at their core, so that they could present "...some objective observations on a given sample of rock paintings in a particular area..." in order to compare and contrast paintings from geographically different areas. What Vinnicombe's numerical analyses clearly showed was that the eland was the most frequently depicted antelope and that it must have played a fundamental role "...in both the economy and the rellgious beliefs of the painters...", which opened up the search for what those beliefs might be and how they could be related to the rock art itself. In order to understand what the rock art was all about it was recognised that researchers had to meaningfully contextualise the art within the social and religious framework of the artists themselves. Without the provision of such a relevant context, as many different interpretations of the paintings could be made as there were people with imaginations. Such a piecemeal approach provides a meaningless jumble of subjective fancy which tells us something about the interpreters but nothing about the rock art. It is unfortunate that the advent of this explicitly social and anthropological approach marks the end of the amateur as a serious interpreter of San rock art, for the juxtaposition of the ethnography with the rock art requires a proper training in which the intricacies of symbol and metaphor can be recognised.
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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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Kurosawa, Yukie. "Pages from my diary : a series of paintings and prints." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864930.
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The creative project, which focused in painting and print making was the conclusion of my graduate program in studio art. I executed eleven oil paintings and eleven woodblock prints which demonstrated my development as a twodimensional artist.Although oil painting is the primary medium that I worked in for this project, I expanded my visual vocabulary to include woodblock printing. These paintings and prints were exhibited at the University Theater Gallery on Ball State University's campus in April of 1992.Painting is a vehicle to express my ideas to others. It is also a vehicle for my personal discovery' Being Japanese (Eastern) living in America (Western) has created a cultural duality in my life, which is the main focus of this creative project. The emotional content of each piece is expressed through visual metaphors.This project involves the exploration of the female figure as a self-portrait, rendered in an environment that visually represents my emotional state of mind. It is a visual diary which started out with the creation of small black and white woodblock prints. I created the images of the four seasons with a female figure surrounded by decorative patterns. This idea expanded as I worked on the oil paintings, which are larger in format (human scale). My intention was to provide a stimulus for emotional response while gaining a greater understanding of how colors, shapes, and other elements operate expressively. For example, in most of the images I intentionally positioned the figure so that the face is turned away from the viewer and not portrayed. This allowed the viewers to project their own feelings onto the work.Along with the creation of the paintings and the prints, I researched past and contemporary artists who shared my ideas and concerns. These artists include the post impressionists--Van Gogh and Paul Gauguin; the Nabis--Pierre Bonnard and Edouard Vuillard; the Fauves--primarily Matisse; German Expressionists; and a contemporary English artist, Howard Hodgkin.<br>Department of Art
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Solomon, Anne Catherine. "Rock art incorporated : an archaeological and interdisciplinary study of certain human figures in San art." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21817.
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Bibliography: p. 206-228.<br>Understanding a widespread motif in San rock art - a human figure depicted in frontal perspective with distinctive bodily characteristics - is the aim of this study. A concentration of these figures in north eastern Zimbabwe was first described by researchers in the 1930s and subsequently, when one researcher, Elizabeth Goodall, described them as 'mythic women'. Markedly similar figures in the South African art have received little attention. On the basis of fieldwork in the KwaZulu-Natal Drakensberg, the south western Cape (South Africa) and Zimbabwe, and an extensive literature survey, a spectrum of these figures is described. In order to further understanding of the motif, existing interpretive methods and the traditions which inform them are examined, with a view to outlining a number of areas in need of attention. It is argued that analysis of rock art remains dependent on a range of dualistic notions which may be linked to retained structuralist ideas. It is suggested that the dominant model in rock art research, in which the rock art is seen as essentially shamanistic, perpetuates distinctions between mind and body, myth and ritual, and sacred and profane, while in its search for general truths concerning the rock art, and its central focus on iconography, the model retains traces of linguistic structuralism. It is proposed that the 'mythic woman' motif, with its gendered and sexual characteristics, is not well accounted for by reference to southern San ritual and religious practice alone. Drawing on contemporary theories concerning temporality and embodiment, it is argued that the motif is better understood in relation to recurrent themes of death and regeneration in San mythology and oral narratives, with shamanistic practice enacting related themes. The motif may be seen as representing San history in terms of culturally specific temporal schemes arising from San experience of the world. The 'ethnographic method', by means of which San accounts are used to illuminate features of the art, is reassessed and extended. Hermeneutic theories are drawn upon in order to address questions regarding the way in which ethnographies and art may be mutually illuminating, and to account for the inevitability of multiple interpretations arising from the situated process of reading or viewing. Prominent themes, images and devices in San myth and oral narrative are discussed in an attempt to move beyond a narrowly iconography-centred approach and in order to account for devices and stylistic features of San arts which are evident in both verbal and visual media. Implications of the research for investigating an archaeology of gender, and the writing of San history, are discussed.
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Gimenez, Patricia. "“I’m Holding the Brush”: Myth and Memory in the Paintings of Linda Anderson." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291000532.
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Arzuaga, Rachel. "A CULTURAL APPROACH: JUDAISM AND ITS EFFECTS ON MOSES SOYER’S PAINTINGS AND DRAWINGS." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1501191626277916.
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Gould, Sarah. "Making Texture Matter : the materiality of British paintings, 1788-1914." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC311.
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La thèse étudie la question du rapport à la matière des artistes britanniques et de leurs critiques à différentes étapes de la fin du dix-huitième siècle au début du vingtième siècle. Au coeur de ce travail de recherche se trouve la notion de texture, pensée comme outil critique renvoyant à la fois à la surface peinte des oeuvres et à leur iconographie. La thèse démontre que la matérialité apparaît comme une dimension fondamentale de ce qui fait la spécificité de la peinture britannique. La notion de texture, conçue comme concept plastique plus qu'essentialiste, permet de rendre compte de certaines tendances persistantes qui structurent la création artistique, la pensée théorique et le débat critique en Grande Bretagne. Sur la période observée, nombreux sont les artistes qui s'attachent à faire sentir la vérité des phénomènes naturels et le vernaculaire dans leur tangibilité. Aussi, l'approche profondément concrète de la nature (humaine et végétale) par les peintres britanniques rend compte du rapport direct qui s'opère dans leur peinture entre matière observée et matière représentée. La conscience des matériaux et du matériel, telle que la révèle le discours critique, est au centre des problématiques du champ artistique en Grande Bretagne. En historicisant ce rapport à la matière, il s'agit d'inscrire la question de la texture dans un contexte épistémologique — qui lie création artistique et empirisme — et dans un rapport, excentrique, à la modernité. Cet angle d'approche permet de relier différentes périodes trop souvent perçues comme étanches et en ce sens de porter un regard nouveau sur l'art britannique<br>This dissertation looks at how the meaning of the painted surface engaged artists and critics in contemporary discourses at different stages between the late eighteenth century and early twentieth century. At the heart of this research project is the notion of texture, thought of as a critical tool, referring both to the painted surfaces of artworks and to their iconography.This dissertation demonstrates that the concept of materiality is a productive optic through which the history of British art can be read. The notion of texture, conceived as a plastic concept rather than an essentialist one, allows for the identification of persistent tendencies structuring artistic creation, theoretical thinking and critical debates in Great Britain. In the period under focus, there are numerous artists who consistently try to capture the truth of natural phenomena and the tangibility of the vernacular. Thus, British painter's profoundly concrete approach to nature (human or topographical) testifies to the direct links which are created in their paintings between observed and represented matter. The consciousness of materials and of materiality, as revealed by critical discourses, is at the centre of artistic debates in Great Britain. By historicizing the approach to matter, I situate the question of texture in an epistemological context linking artistic creation to empiricism. Considered in this way, texture takes on an eccentric relationship to modernity. This prism of study allows me to link different periods too often perceived as watertight and therefore to offer a new outlook on British art
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Arthur, Brid Caitrin. "Envisioning Lhasa: 17-20th century paintings of Tibet's sacred city." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437525195.
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Arana, Emilia. "Eighteenth century caste paintings: The implications of Miguel Cabrera's series." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278537.
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This study examines caste paintings, an art form unique to eighteenth century colonial Mexico. Hundreds of caste paintings were produced, following a compositional template that remained fairly uniform throughout the century. The distinguishing characteristic of these images is their depiction and labeling of Mexico's racially mixed population. A broad discussion of the caste genre places these works in the context of hierarchical colonial society. Focus is on select images by prominent Mexican artist Miguel Cabrera, and the changes Cabrera brings to the caste template. This study places particular emphasis on the women of Cabrera's first two caste paintings, using examples from portraiture and other art forms for contrast. The noble cacique Indian woman of the first image is used as a way to highlight and explore representation of the European and Indian cultures that comprised the major dichotomy of New Spain's social organization.
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Giombini, Lisa. "Music, restoration and ontology : a guide for the perplexed." Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0093/document.
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J’analyse la nature des relations entre art et métaphysique dans la tradition de la musique classique, de la performance, et de la restauration de l’art. La première partie de la thèse est dédiée à l’étude de l’ontologie de la musique. Le Chapitre 1 examine les théories concernant ce que c’est une œuvre musicale d’un point de vue ontologique, à savoir l’Idéalisme, le Nominalisme et le Platonisme en défendant l’idée qu’aucune de ces théories n’est entièrement satisfaisante. Cela conduit dans le Chapitre 2 à une discussion sur la méthodologie adéquate à l’enquête ontologique et à une analyse metamétaphysique de l’ontologie de l’art. Je considère quatre objections contre l’ontologie de l’art: l’eliminativisme, l’esthétisme, l’historicisme et le sémantisme. La deuxième partie est dédiée à une étude de l’art performatif et de la restauration. Dans le Chapitre 3, j’étudie le concept d’œuvre en général, en soutenant que ce n’est pas nécessaire de classer tout l’art sous ce notion : il faut faire une distinction entre œuvres et d’autres phénomènes artistiques pour donner sens aux pratiques artistiques non traditionnelles. Dans le Chapitre 4, je considère la notion de performance d’une perspective historique et philosophique: les performances peuvent être comprises à travers la comparaison avec jeux et expériences scientifiques. Enfin, j’examine pourquoi l’art performatif défie notre compréhension standard de l’appréciation artistique en introduisant les notions d’immersion et d’interaction. Dans le Chapitre 5, j’étudie le concept d’authenticité par rapport à la restauration. Je me réfère à l’œuvre de Cesare Brandi pour aborder les questions ontologiques que la restauration nous présente<br>I investigate the nature of the relationships between art and metaphysics in the tradition of classical music, performance art, and art restoration. The first part of the thesis is dedicated to musical ontology. I begin in Chapter 1 by analyzing theories of what a classical musical work is ontologically. I focus on Idealism, Nominalism and Platonism. I defend the view that none of these proposals is satisfactory nor able to resist objections. This leads in Chapter 2 to a discussion of the appropriate methodology for doing musical ontology. I thus propose a metametaphysical account of the ontology of art. I examine four objections against art ontology: Eliminativism, Aestheticism, Historicism and Semanticism. The second part of the thesis is devoted to the study of the cases of performance art and restoration. In Chapter 3 I investigate the concept of a work of art in general, arguing that there is no need to subsume all art under the work-concept. I claim that drawing a distinction between artworks and other art-phenomena is important to make sense of nontraditional contemporary art. In Chapter 4, I consider the notion of performance art both historically and philosophically. I contend that performances can be understood in the comparison with experiments and games. I examine the way in which performance art challenges our common understanding of art appreciation by introducing the contrasting notions of immersion and interaction. In Chapter 5, I consider the topic of art authenticity with regard to restoration. I refer to the work of Cesare Brandi to address some of the ontological problems that a philosophical analysis of restoration presents us with
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Livingston, Amy Miller. "A study of the iconography, style, and origin of three Tibetan Thangka paintings." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407398055.
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Bartkutė, Aušra. "Memai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070112_153214-46613.
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As in lots of peoples lifes, freedom in my life takes a very special place. I think, only free human being can be happy. Maybe it was the main reason, why after graduating bachelor of arts I decided to study painting in the faculty of arts further. Because of the possibility not only to learn the subject I love, but also to feel free and independent in my oeuvre in all meanings.
In my postgraduate studies finishing art works I wanted (I tried) to call attention of people to the phenomenon of memes. Meme is an information pattern, held in an individual's memory, which is capable of being copied to another individual's memory, to call attention of people to some stereotypes, which possibly came into our lifes under the influence of memes.
To deny the standard opinion, that we should talk seriously about serious things (problems), I introduce my ten paintings, which are gamesome, “tormentless”, free. Although pending problems are serious, my paintings are not only painted by gamesome and free style (manner), full of various bright, blaze colours. Selected subjects are also voluntary, free. My ten paintings unfold four themes: “Cruelty and coldness”, “Relationship between female and male”, “Time to be born and time to die”, “Freedom����.
For the theme “Cruelty and coldness” I introduce three paintings: 1 – “Do you think, I am worse than you because of that?..”, 2 – “It’s cold inside – we are the robots”, 3 – “The chicken rissole for dinner”. For the theme “Relationship between... [to full text]
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KLEOPFER, KIRSTIE L. "NORMAN ROCKWELL'S CIVIL RIGHTS PAINTINGS OF THE 1960s." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179431918.
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Schumacher, Sara. ""Uomini-statua-oggetto" : Giorgio de Chirico's mythologized mannequin paintings in late 1920s Paris /." Thesis, Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6004.
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Winter, Leslie J. "Body, Identity, and Narrative in Titian's Paintings." Wittenberg University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1399284506.
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Morse, Paddy Jill. "A revaluation of the Napoleonic history paintings of Antoine-Jean Gros." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384883600.
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Muente, Tamera Lenz. "Repose, Reflections, and “Girls in Sunshine”: Frederick Carl Frieseke’s Paintings of Women, 1905–1920." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1147531632.
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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.
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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.
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Ndlovu, Ndukuyakhe. "Incorporating indigenous management in rock art sites in KwaZulu -Natal /." Thesis, Rhodes University, 2005. http://eprints.ru.ac.za/1380/.
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FISER, AMY. "A GIFT TO CINCINNATI IN 1824: THE CARDINAL FESCH PAINTINGS OF THE ARCHDIOCESE OF CINCINNATI." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1025619384.
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Scott, Gabriella Boschi. "Dismantling cultural hierarchies| A prefiguration of Mexican postmodernism in Enrique Guzman's paintings." Thesis, The University of Texas at San Antonio, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1556588.
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<p> This thesis argues that Mexican painter Enrique Guzmán is a central figure in the transition between the Ruptura movement and postmodernism. Construed by many as a surrealist artist, Guzmán employs idiosyncratic imagery not to probe inner realities, but to explore themes such as abjection and the fragmentation of self into commodity images. Inhabiting the chasm between an oppressive ultra-conservative provincial culture and the turbulent revolutionary ideology of Mexico City of the sixties and seventies, Guzmán articulates, by fusing aesthetic categories such as, among others, the grotesque, the campy and the advertising cliché and exploring language, paradox and gaze, a deconstruction of cultural and political codes by satirizing their interlocking systems of signs and simulacra, initiating a critique of national and personal identity that will later be developed by the Neo-Mexicanists (Neomexicanistas) into a bold denouncement of sexual, socioeconomic and national marginalization.</p>
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Apraiz, Elvira. "Using pictures of paintings as aids to communication with people who have learning disabilities." Thesis, University of Reading, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247315.
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Marchiori, Maria Laura. "Art and reform in tenth-century Rome - the paintings of S. Maria in Pallara." Thesis, Kingston, Ont. : [s.n.], 2007. http://hdl.handle.net/1974/908.
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