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Dissertations / Theses on the topic 'Still-life in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

Black, Joshua Steven. "Life is still beautiful." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1204.

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My individual journey as an artist has allowed me to develop in what can be considered two societal extremes; growing up in condensed suburban Southern California to living in rural mid-American Iowa. This change in settings caused me to question how the environment one grows up in influences his cultural and social perspective. Within this environment exists a support structure of family, friends, and community who also play a large role in how an individual's perception develops, including concepts of honesty, integrity, and ethics- but to what extent? This question of how different circumst

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2

Dunlop, Richard Noel. "Signs of Still Life." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/366633.

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The research question under investigation is: Working within the genre of still life, how can my current work represent a ‘radical revision’ of selected aspects of this traditional genre? The issues and art historical knowledge informing the creation of my contemporary still lifes is the central subject of this project – involving a selfeffacing, metacognitive process of ‘radical revisionism’ (see Butler, 2005), reflecting contemporary practices among artists and art historians alike. The ancient genre of still life, stemming from Pompeian frescoes and mosaics to the current day, will be expos

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3

Cardwell, Thomas. "Still life and death metal : painting the battle jacket." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12036/.

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This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated

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4

Riches, Colin. "There is still life : a study of visual art in a prison." Thesis, Royal College of Art, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267089.

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5

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

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6

Cohen, Matthew. "The still life: Domesticity, subjectivity, and the bachelor in nineteenth-century America." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539623409.

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"The Still Life" explores debates over single manhood in the culture of the nineteenth-century United States. Until recently, the "bachelor" was less an identifiable social type than a battleground for discourses of privacy and intimacy, sympathy and sentiment, and labor and leisure. Representations of the bachelor tended to excite readers' concerns about the relationships among emotion, public behavior, and intellectual prowess. Concentrating on constructions of the bachelor within specific discursive arenas, this dissertation examines "bachelorhood" as a way culture organized a wide range of

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7

McCune, Janet Marie Krupp. "Re-envisioning the ordinary : a study of vantage points in painting." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864937.

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Viewed from odd angles, the ordinary looks new and the commonplace becomes unusual. The purpose of my creative project, Re-envisionina the Ordinary: A Study of Vantage Points in Painting, was to use unusual vantage points and multiple viewpoints as compositional devices to show familiar household scenes and objects in a new way. Analysis of artworks and writings by realist painters such as Edgar Degas, Paul Cezanne and Pierre Bonnard helped me learn how each of these artists used unusual or multiple viewpoints While researching these artists, I began to understand why space is one of the funda

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8

Allen, Kate Elizabeth. "How beautiful is thy dwelling." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1530.

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This work focuses on the cross-section between classic still-life art and complex personal issues. It uses traditional and nontraditional still life photography to tell individual vignettes about my life. I explore unresolved issues, which offer subtle suggestion of an experiential narrative. All of the backgrounds and objects included are intentional and represent specific places, people, and events. I allow the viewer to bring their own experiences to the photographs, by not giving them specifics of my stories. I used this work as a way for me to move past these experiences and my hope is th

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9

Labuschagne, Emily. "Masters, master, masturbate (a master's debate) - relooking at the home, body and self through seventeenth century Dutch still life painting." Master's thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32716.

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The still life genre has been, and arguably still is, regarded as the lowest form of painting in Western fine art history. The absence of the human figure in still life painting means that the artist does not require knowledge of either human anatomy or history for the production of the work. Given seventeenth century female painters' exclusion from the academies where anatomy was taught, it was thus a genre regarded as appropriate for female painters in Europe prior to the nineteenth century. Such dictates of propriety were indicative of gender constructs that relegated women to the private s

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10

Boch, Elizabeth. "A Pawn’s Toil: Advocating for a Return to the Toybox." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors153599598226024.

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11

Filippa, Kenne. "Breakfast-Piece by Nicolaes Gillis : A comparative study of material perspectives." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182721.

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12

White, Emma Sally. "Contrived relationships and the construction of meaning." Thesis, The University of Sydney, 2005. https://hdl.handle.net/2123/28978.

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a) Description of Studio Work My work as presented for examination consists of an installation comprising photographic and Video elements, exhibited at Sydney College of the Arts, December 6-17 2005. b) Abstract of Research Paper/ Dissertation My research addresses the construction of meaning in artistic texts. This paper explores the structural basis of the various narrative and aesthetic devices used by artists to simultaneously articulate and mystify works, and signposts the pretexts established by artists to enable artistic production. My research contends that meaning resides i

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13

Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called &quotmeditations,&quot which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the

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14

Ruddock, Joanna Mavis. "Dutch artists in England : examining the cultural interchange between England and the Netherlands in 'low' art in the seventeenth century." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8632.

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The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portr

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15

Fegert, Elke. "Alexander Kanoldt und das Stillleben der Neuen Sachlichkeit /." Hamburg : Kovač, 2008. http://d-nb.info/989695808/04.

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16

Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.

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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetr

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17

Andersson, Louise. "Ylva Oglands socialrealism : Att göra det osynliga synligt." Thesis, Södertörn University College, The School of Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-445.

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<p>The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable mot

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18

Eliasson, Matilda. "En bortglömd värld av blommor : Märta Rudbecks konstnärskap under tidigt 1900-tal." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-429555.

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This thesis rediscovers the Swedish painter Märta Rudbeck (1882–1933). During her lifetime she was an esteemed composer of flower still lifes and portraits. Her forgotten heritage follows those of other female artists, whose legacies are long forgotten. By retracing her life through archives and newspaper articles, a picture of her upbringing, education, career and network affiliations emerges. By using the French sociologist Pierre Bourdieus field theory, the aim of the thesis is to analyse the social, educational, cultural and economic aspects that affected Märta Rudbeck’s life, and how this

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19

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

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

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20

Cochrane, Peter. "The Wild Beasts." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5917.

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The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the ch

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21

Leach, Samuel, and sleach@ozemail com au. "The Value of Wealth: Representing Contemporary Corporate Space." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091021.124940.

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The objective of my research is to develop a body of work for exhibition based on an examination of the ways that corporate space, as exemplified by the foyers and conference rooms of contemporary corporate offices, reflect societal anxieties about wealth and power. These works will draw on the history of painting, with particular reference to 17th century Dutch still life painting, as a framework within which to conduct the exploration of contemporary space. This will be done by applying or interpreting the principles, motifs and techniques used in that period in the visual representation of

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22

Geissler, Paul Wenzel. "'Are we still together here?' : negotiations about relatedness and time in the everyday life of a modern Kenyan village." Thesis, University of Cambridge, 2004. https://www.repository.cam.ac.uk/handle/1810/251909.

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23

Price, Amina, and n/a. "Utilisation of Still-Water Patches by Fish and Shrimp in a Lowland River, With Particular Emphasis on Early-Life Stages." University of Canberra. Applied Science, 2007. http://erl.canberra.edu.au./public/adt-AUC20081202.090600.

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In lowland river systems, in-channel, slow-flowing or still-water areas (still-water patches, SWPs) are considered to be important habitats for many organisms, particularly the early-life stages of fish and shrimp. However, the distribution of the early life-stages of fish and shrimp among these habitats appears to be very patchy and studies suggest that the quality and diversity of microhabitat conditions within SWPs and the accessibility of SWPs to spawning adults and dispersing young may be important determinants of their suitability as nursery habitat. The aims of this thesis were to exami

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24

Edwards, Michael. "The Economy of Still Life: A Practice-Led Exploration of Still-Life Painting." Phd thesis, 2016. http://hdl.handle.net/1885/117322.

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In this practice-led research project I have explored the genre of still-life painting, with a focus on material culture. I came to the project with a background as a still-life painter and economist. I was curious about the relationship between the two activities, and speculated that an artist’s approach to still-life painting might reflect the overall economic circumstances of the times. If so, how might a disruptive change to those circumstances generate changes in the way paintings were made? And how could material culture – the objects that help

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25

Watson, SF. "Silent witnesses : re-interpreting the still life tradition." Thesis, 2010. https://eprints.utas.edu.au/22268/1/whole_WatsonSheilaFrances2010_thesis.pdf.

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This research investigates how simple domestic objects can be employed as visual metaphors for vulnerability, entrapment and unfulfilled expectations experienced by many women who take on primary domestic roles. In its use of domestic objects as visual metaphors, the project locates itself within the context of the still life genre but at the same time seeks to re-interpret this tradition in a way which makes it relevant to contemporary concerns. The exegesis contextualises the project through discussion of what the domestic object traditionally symbolised in the history of Western art,

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26

KŘÍŽOVÁ, Lenka. "Zátiší v prostoru (prakticko-teoretická práce)." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-180836.

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This diploma thesis treats and follows the still life in the conceptual interpretation of some selected authors in the second half of the 20th and at the beginning of the 21st century. The work has been divided into the theoretical and the practical part. The theoretical part deals with the conceptual art, its evolution, theory and its representatives. It further follows the evolution of the still life concerning mainly 20-century´s still lives and three-dimensional still lives. The practical part is made by sketch cycles, photomontages and the final art conceptual project. The work documentat

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27

Arata, Derrick. "Objects of history." Thesis, 2005. http://hdl.handle.net/10125/12090.

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28

Bacarreza, Leonardo Mauricio. "Food, Eating, and the Anxiety of Belonging in Seventeenth-Century Spanish Literature and Art." Diss., 2012. http://hdl.handle.net/10161/5424.

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<p>In my dissertation I propose that the detailed representation of food and eating in seventeenth-century Spanish art and literature has a double purpose: to reaffirm a state of well-being in Spain, and to show a critical position, because artistic creations emphasize those subjects who, because of social status or cultural background, do not share such benefits. This double purpose explains why literature and painting stress the distance between foodstuffs and consumers, turning food into a commodity that cannot be consumed directly, but through its representation and value. Cervantes's writ

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29

SODOMKOVÁ, Soňa. "Fenomén zátiší ve vývoji výtvarného umění a jeho využití ve výtvarné výchově na 1.stupni ZŠ." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-112101.

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The aim of this thesis is to clarify the concept of still life, outlining its development in the context of art from antiquity to the present. The work will focus select content for specification and formal transformations of still life with the possibility of using the outline of educational potential for the practice of art education in elementary schools. This work includes theoretical and practical part. The theoretical part deals with the history, basic principles and techniques of still life in art and his world and Czech officials. Practical application includes a realistic still life t

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30

Ferrero, Sebastian. "Representación de la naturaleza y el espacio en la pintura andina de los siglos XVII y XVIII." Thèse, 2016. http://hdl.handle.net/1866/18466.

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Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée des documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.<br>Pendant la période coloniale, le grand sujet de la nature fut différemment instrumentalisé selon les intérêts particuliers des secteurs distincts de la société coloniale péruvienne. Fondamentale comme outil d'évangélisation, mais surtout comme espace de canalisation de la religiosité et de la spiritualité coloniale, la nature a su se manifester de m

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31

zhu, cui. "Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)." Thèse, 2012. http://hdl.handle.net/1866/8412.

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Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687. Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte e

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32

Zhu, Cui. "Symbolique florale dans le tableau de Jean-Baptiste Belin de Fontenay Vase d’or, fleurs et buste de Louis XIV (1687)." Thèse, 2012. http://hdl.handle.net/1866/8412.

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Le tableau de Jean-Baptiste Belin de Fontenay intitulé Vase d’or, fleurs et buste de Louis XIV est le morceau de réception que le peintre a présenté à l’Académie royale de peinture et de sculpture en 1687. Malheureusement peu étudié, ce tableau n’en comporte pas moins trois problématiques très intéressantes. Tout d’abord, il rassemble trois genres de peinture dans une seule composition : la nature morte, le portrait et la peinture d’histoire, illustrés respectivement par les fleurs, le buste du roi et la pièce d’armure. L’association de ces trois genres dans un tableau de nature morte

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33

Joseph, Johanne. "Jacques Linard, Une nature morte de 1640, marqueur de son temps." Thèse, 2017. http://hdl.handle.net/1866/22060.

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