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Dissertations / Theses on the topic 'Rock paintings in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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 r

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2

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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Hale, John Patrick. "Rock art in the public trust managing prehistoric rock art on federal land /." Diss., [Riverside, Calif.] : University of California, Riverside, 2010. http://proquest.umi.com/pqdweb?index=0&did=2019830541&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1274289259&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2010.<br>Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed May 19, 2010). Includes bibliographical references. Also issued in print.

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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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5

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 exten

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Batiashvili, Magda. "Colour of the past. First Archaeometric investigations of Caucasian rock art paintings in Georgia." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/31075.

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Abstract: This research presents the first archaeometric investigation on Damirgaya and Trialeti Rock art sites and the Neolithic settlement Khramis Didi Gora, South Caucasus, Georgia. The aim is to characterize rocks and pigments, to assess painting technology, including the possible identification of organic binders and the compatibility of inorganic pigments with those locally available. In order to build up our awareness and solve scientific curiosity, the research questions are cleared up through the comparison with adjacent archaeological sites, from Armenia, Azerbaijan and Anatolia, whe

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7

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 ove

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Cosser, Marijke. "Images of a changing frontier worldview in Eastern Cape art from Bushman rock art to 1875." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002196.

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A discussion of the concept of worldview shows that how an artist conceives the world in his images is governed by his worldview - an amalgam of the worldview of the group of which he is a part modified by his own ideas, beliefs, attitudes, perceptions and upbringing. The author proposes that studying an artist's work can reveal his, and hence his group's, worldview and thus the attitudes prevalent when the work was produced. A brief historical sketch of the Eastern Cape to 1834 introduces the various settlers in the area. Though no known examples of Black, Boer or Khoi pictorial art are extan

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Lishiko, Billiard Berbbingtone. "The politics of production of archaeological knowledge :a case study of the later stone age rock art paintings of Kasam, Northern Zambia." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&amp.

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The main purpose of this study was to investigate and examined the politics in the production of archaeological knowledge especially in rock art, at academic, heritage institutions and national and global level. It aims to trace and examine the development and movement of particular hypotheses or interpretations and their appropriateness in the study and management of rock art heritage in southern Africa.

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Steyn, Ruan. "Portable X-ray fluorescence and nuclear microscopy techniques applied to the characterisation of southern African rock art paintings." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86541.

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Thesis (MSc)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: Non-destructive portable X-ray Fluorescence (pXRF) and Particle Induced X-ray Emission (PIXE) were used to measure the elemental concentration of rock art fragment paintings. For pXRF the Amptek Silicon Drift Detector (SDD) and Niton XL3t spectrometers were used to perform the measurements. These two spectrometers use different spectrum analysis methods. The Peak Deconvolution (PD) analysis method is used for the Amptek SDD and an Inverse Overlap Matrix (IOM) method is used for the Niton XL3t spectrometer. The pXRF method

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Fordred, Claire Louisa. "The management and conservation of rock art sites and paintings in the uKhahlamba-Drakensberg Park, KwaZulu-Natal, South Africa." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/23428.

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The uKhahlamba-Drakensberg Park (UDP) is a World Heritage Site known for its cultural San heritage and its natural beauty, which is advertised as a world tourist attraction. Tourism is a debatable issue with regards to its negative and/or positive impacts on rock art along with commodification aspects. Negatively, visitation of sites increased natural deterioration of the site, the art and challenges for cultural resource management. While increased awareness of rock art conservation is a positive aspect through tourism and developments, contributes optimistically. San heritage is unique, defi

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Jalandoni, Andrea. "The Archaeological Investigation of Rock Art in the Philippines." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/378158.

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Austronesians are a genetically-related people, recognized by the similarities in their languages, and with a shared past evidenced by material culture. Research into the origin and migration route of Austronesians has progressed through the disciplines of Linguistics, Archaeology, and Genetics. Out of Taiwan is currently the dominant theory with strong evidence from the three disciplines involved. Consequentially, the Philippines is the first stop of the migrating Austronesians, and therefore the closest link to the homeland in Taiwan linguistically, archaeologically, and genetically. The arc

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Leuta, Tsepang Cecillia. "Evaluating the rate of rock art deterioration in the uKhahlamba-Drakensberg Park, KwaZulu-Natal." Diss., Pretoria : [s.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-02232010-121907/.

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Rust, Renee. "The rock art of the Anysberg Nature Reserve, Western Cape : a sense of place and rainmaking." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/52016.

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Thesis (MA)-- Stellenbosch University, 2000.<br>ENGLISH ABSTRACT: The Anysberg Nature Reserve is a block of mountainous terrain comprising 44 515 ha in the Little Karoo of the Western Cape. There are approximately 50 known rock art sites within its boundaries. During a two-year site survey details of the rock art images were recorded on forms and, where possible, by tracing and photography. The sites tend to be small with fewer than 50 images per site and are located in narrow kloofs, mostly on the Anysberg. Few sites have occupation deposits. The main interest has been the interpretatio

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Ray, Melissa Marie. "The shield bearing warriors of Bear Gulch a look at prehistoric warrior identity in rock art and places of power /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05112007-121422/.

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Otto, Christina. "Die Felsmalereien und –gravierungen des südlichen Afrika: eine vergleichende Analyse." Universität Leipzig, 2006. https://ul.qucosa.de/id/qucosa%3A33572.

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This volume represents the first systematic attempt to compare the rock paintings and rock engravings southern Africa. It demonstrates that these two categories have less in common than has hitherto been recognised. For example, whilst the majority of rock paintings show human beings, more than 90 per cent of the engravings consist of geometric motifs.<br>Dieser Band repräsentiert den ersten systematischen Versuch, die Felsmalereien und Felsgravuren des südlichen Afrikas zu vergleichen. Er belegt, dass diese beiden Kategorien weniger gemeinsam haben, als bis jetzt angenommen wurde. Zum Beispie

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Wilt, Julia J. "A Location Analysis of Vandalism to the Rock Art of the Columbia River Gorge National Scenic Area." PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/4661.

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Archaeological sites in the New World are the fragile and non-renewable remains of cultures which flourished for thousands of years prior to European contact and displacement. Sites which escape the effects of erosion and development often fall victim to vandalism. Cultural resources, including rock art and other archaeological sites, are protected by state and federal laws which prohibit the removal or disturbance of the sites, whether from development or from vandalism. Vandalism is frequently seen as a problem for law enforcement rather than a problem for cultural resource management. Manag

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Duminy, Sylvia Ida. "Die ontwikkeling van 'n modulêre en vervoerbare beligtingsinstrument vir die dokumentasie van Suid-Afrikaanse rotskuns." Thesis, [Bloemfontein?] : Central University of Technology, Free State, 2006. http://hdl.handle.net/11462/82.

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Thesis (M. Tech.) -- Central University of Technology, Free State, 2007<br>The lack of a standardized lighting instrument to be used in conjunction with existing photographic methods to document rock art, is a problem experienced in archaeological circles. Through interviews with archaeologists and an investigation into existing photographic methods concerning the photographing of rock art, a demand for a portable and modular lighting instrument was confirmed. The aim of this study, then, was to develop a prototype lighting instrument to fill this void. The design and manufacture of the modula

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

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Misiko, Juma Asborn. "« Vers la mise en tourisme du patrimoine ethno-culturel de l’ouest kenyan. Tourisme international et domestique dans les régions du lac Victoria et de Bungoma »." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20106/document.

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Pour devenir une importante destination touristique internationale et pas seulement subsaharienne, le Kenya a besoin de lieux et de produits touristiques renouvelés offerts de manière croissante par les sites mémoriels et les musées régionaux situés dans l’ensemble du pays, mis en tourisme récemment en direction des touristes domestiques. Cette nouvelle tendance permettra de décongestionner les sites et les régions touristiques phares (parcs de Masaï Mara, de Amboseli, lac Nakuru et la côte swahili), saturés dans leur fréquentation double, à la fois celle des touristes internationaux, mais aus

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Goodall, Rosemary A. "Non-destructive techniques for the analysis of pigments from an archaeological site." Thesis, Queensland University of Technology, 1997. https://eprints.qut.edu.au/36948/1/36948_Goodall_1997.pdf.

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The detennination of trade routes and social interactions has previously been undertaken using cultural records and archaeological trends. In many regions this infonnation is sparse or inconclusive. By provenancing materials such as the pigments used by Aboriginal artists the movement of materials in the past can be directly investigated. This study is an attempt to characterise and provenance the excavated pigments from Fem Cave, Chillagoe, Southeast Cape York Peninsula. Two techniques, Fourier transform infrared -photoacoustic spectroscopy and proton induced X-ray and gamma-ray emission sp

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STRASBAUGH, CHRIS. "CALL TO ACTION: THE ROLE OF RELIGIOUS PAINTING IN UTRECHT'S GOLDEN AGE (1590-1640)." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1177423292.

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Heimlich, Geoffroy. "L'art rupestre du massif de Lovo (République Démocratique du Congo)." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209300.

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À la différence des arts rupestres du Sahara ou d’Afrique australe, richement documentés, ceux d’Afrique centrale restent encore aujourd’hui largement méconnus. L’art rupestre du Bas-Congo s’étend de Kinshasa à la côte atlantique et du nord de l’Angola au sud du Congo-Brazzaville. Bien que signalé dès le XIXe siècle par James Tuckey, lors de sa reconnaissance du fleuve Congo, il n’a jamais fait l’objet d’une recherche de grande ampleur et son âge reste toujours incertain.<p><p>Peuplé par les Ndibu, un des sous-groupes kongo, le massif de Lovo se trouve au nord du royaume de Kongo. Bien que ce

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Lemaitre, Serge. "Kekeewin ou kekeenowin: les peintures rupestres de l'est du Bouclier canadien." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211124.

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Les peintures rupestres de l’Ontario font partie du grand ensemble de l'art rupestre du Bouclier Canadien. Ce terme recouvre une réalité géologique autant qu'ethnographique, puisque cette région est essentiellement habitée par les Algonquiens. La retraite des glaces laissa un paysage criblé de lacs et de cours d'eau dont les artistes amérindiens peignirent les roches riveraines. Les peintres élirent de préférence des rochers de granit ou de gneiss, lissés par les glaces et plongeant, le long des rivages, presque à la verticale dans l'eau. <p>Depuis une dizaine d'années, les recherches en art r

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Rubio, i. Mora Albert. "El yacimiento arqueológico de la cueva de El Ratón. Una cueva con pinturas en la sierra de San Francisco (Baja California Sur, México). El mural pintado." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/113766.

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En el planteamiento previo de este trabajo nos propusimos cinco objetivos que hemos desarrollado a lo largo del estudio y que se detallan a continuación. 1) Documentación del mural La documentación gráfica del mural ha consistido en la realización de un calco digital del mural en base al programa Photoshop y con la ayuda de la aplicación DStrech. A partir de la documentación gráfica hemos identificado 194 motivos en distintas categorías de figuras animales, humanas y elementos esquemáticos y abstractos distribuidos en cinco sectores de la cueva. Todos estos motivos están reproducidos a

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Kachlíková, Barbora. "Malířův rok." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2016. http://www.nusl.cz/ntk/nusl-241031.

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I have been working on my Master degree work at art residenci in Gedok art centrum in Stuutgart,Germany. Thecollection of work is consist of approximately 15-20 works.Medium is painting, technique oil on canvas. The serie of paintings has different kind of measures, from 80x90cm to 200 x 200cm.

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Murphy, Michael Lee. "Changing human behavior : the contribution of the white paintings rock shelter to an understanding of changing lithic reduction, raw material exchange, and hunter-gatherer mobility in the interior regions of Southern Africa during the Middle and Early Late stone age /." Ann Arbor (Mich.) : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb40021633r.

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Nibbs, Simone E. "Binding Ochre to Theory." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/pomona_theses/122.

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Widely found throughout the archaeological and artistic records in capacities ranging from burial contexts to early evidence of artistic expression, red ochre has been studied in archaeological and art conservationist communities for decades. Despite this, literature discussing binders is disparate and often absent from accessible arenas. Red ochre is important historically because its use can be used to help further the understanding of early humans, their predecessors, and their cognitive capabilities. However, there is not much written speculation on the processes involved in binder selecti

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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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David, L. Kencik. "The Triumph of the Eucharist in the Paintings for the Sala dell’Albergo and the Sala Superiore in the Scuola Grande di San Rocco by Jacopo Tintoretto (ca. 1518/19-1594)." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1590600384514719.

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Mauran, Guilhem. "Rock paintings and microorganisms: a new insight on Escoural cave." Master's thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/20606.

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European cave art is of tremendous importance to understand the cultural traditions of the Upper Palaeolithic (35 000 – 10 000 BP) populations. Indeed, Prehistoric communities performed numerous cave paintings all over Western Europe. Understanding these artworks should provide a better knowledge of these early cultural aspects. Although numerous studies have been carried out to analyse the materials used by those communities, nothing has been done on the techniques’ palette of Escoural Cave’s representations. The present work aims at providing the very first data about the techniques and mate

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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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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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Ling, Johan. "Elevated rock art : towards a martitime understanding of rock art in northern Bohuslän, Sweden /." Göteborg : Göteborgs Univ., Inst. för Arkeologi och Antikens Kultur, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016446937&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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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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Konoske, Ashley Anderson. "The archaeology and rock art of Rock Creek, northwestern Nevada /." abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1436190.

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Thesis (M.A.)--University of Nevada, Reno, 2006.<br>"May, 2006." Includes bibliographical references (leaves 241-257). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2006]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.

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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 glo

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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

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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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Searight, Susan. "The prehistoric rock art of Morocco." Thesis, Bournemouth University, 2001. http://eprints.bournemouth.ac.uk/381/.

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This study aims to examine all aspects of Moroccan rock art and place it in an archaeological and environmental context. Almost 300 sites are now known but few have been studied fully. This work is the first overall analysis to be attempted. Data on climatic changes during the Holocene period, together with archaeological and faunal reports, provided the necessary background to the rock art. The distribution of engraved and painted sites in Morocco is very uneven. Animals were the most frequent themes, but a review of all the sites revealed great site and subject diversity. Four main types of

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Wakankar, Vishnu Shridhar. "Painted rock shelters of India /." Bhopal : Directorate of Archaeology, Archives, and Museums, Govt. of Madhya Pradesh, 2005. http://catalogue.bnf.fr/ark:/12148/cb41099869t.

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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

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Dandridge, Debra Elaine. "Lichen: the challenge for rock art conservation." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4695.

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This study investigates the effects that lichens have on rock surfaces in which ancient rock art (petroglyphs and pictographs) may be found. The study area includes four sites in the United States: one quartzite site in southwest Minnesota, two sandstone sites in Wyoming, and one volcanic site in Central New Mexico. One additional granitic site studied is located northeast Queensland, Australia. The questions driving the pursuit of this dissertation research are: 1. How does the chemistry of the rock change with weathering and how deep is the profile? 2. Do lichens cause differential chemical

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Abd-El-Moniem, Hamdi Abbas Ahmed. "A new recording of Mauritanian rock art." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444476/.

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Towards "A New Recording of Mauritanian Rock Art" is an attempt to utilise new methods and techniques for recording rock art in north-west Africa. This research aims to show the recorded work not as isolated figures but as groups of inter-related figures. According to the published and unpublished inventories of the Mauritanian rock art sites, the two studied sites, which have only engravings, have not been recorded before. They are situated in the Adrar plateau in the north-central part of the Mauritanian Sahara. In addition to the methods and techniques of recording rock art (e.g. tracing, r

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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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Snowball, Arryn. "Delineating Nihilism: Colin McCahon's Last Paintings." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/368119.

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This thesis analyses a series of text paintings by New Zealand artist Colin McCahon, and proposes that by delineating nihilism, they resist being nihilistic. All four paintings, The Emptiness of All Endeavour: Triptych, Is There Anything of Which One Can Say, Look This Is New?, I Applied My Mind, and I Considered All the Acts of Oppression (painted between 1980 and 1982), draw their text from ‘The Book of Ecclesiastes’, as translated in the New English Bible (1970). While previous discussions of the works have tended to emphasise the biographical element of the works (i.e., McCahon’s life and

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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 inter

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Haubt, Robert Alexander. "The Global Rock-Art Database: Centralizing Heritage Data Collections using a Collaborative, Information Structure and Data Visualization Approach in an Open Source Application." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/367148.

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The Rock-Art Database (RADB) is a non-for profit online project at PERAHU, Griffith University in Australia. It seeks to improve theory and practice in the digital curation of rock-art data through building a centralized global rock-art heritage hub. Through the use of new technologies the database explores new ways to look at rock-art information and explores the potential within its digital curation. The system can be accessed on the World Wide Web at http://www.rockartdatabase.com. Australia alone features over 100,000 rock art sites, important heritage places for Indigenous and non-Indigen

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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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