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Dissertations / Theses on the topic 'Women in paintings'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

WAN, Lai Na. "Portrayals of women in Chen Hongshou’s figure paintings." Digital Commons @ Lingnan University, 2014. https://commons.ln.edu.hk/vs_etd/6.

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Chen Hongshou (1598/1599-1652), a famous artist of late Ming and early Qing China, was particularly well-known for his figure paintings, which exerted a noticeable influence on later generations and has been the subject most commonly discussed by scholars. Among Chen’s figure painting oeuvre, this study is especially concerned with his portrayals of women ranging between the 1630s and 1650s with an intention to explore what their representations, audience and function reveal about the artist. The existing monographs on Chen’s female figures is limited to only few case studies, from which the artist’s depictions of women have not been clearly sorted out, so there is room for further investigation of the relation between female imagery, cultural meanings and the artist’s identity. The contribution of this study is to research on some specific questions in these regards. The three chapters of this dissertation consider Chen’s depictions of women from different perspectives. It begins by analyzing Chen’s appropriations and innovations revealed in his female figures in terms of iconographic and thematic aspects. The artist’s works demonstrate identifiable features ascribed to the past paintings that indicate his considerable familiarity with the subject established in the broad history. At the same time, they are distinguished by innovative traits which show his awareness of popular trends in his own time and his facility in reinvention. This thesis then proceeds to examine Chen’s attitude towards women by positioning his representations of female figures in relation to the social and cultural context in the seventeenth century. It is found that Chen’s portrayals of women, on the whole, reveal the artist’s ambivalent stance towards women as he on one hand shows positive on female talent, bonding and emotional disclosure, but on the other hand treats women as object of desire. His conflicting attitudes in fact correspond to the complex status of women at that time. The final chapter of this thesis explores the intended audience and functions of Chen’s rendering of women, from which the artist’s dual identities as a literate man and a professional painter in his late life are strongly revealed.

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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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3

David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.

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4

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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Muente, Tamera Lenz. "Repose, reflections, and "Girls in Sunshine" Frederick Carl Frieseke's paintings of women, 1905-1920 /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1147531632.

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Thesis (M.A.)--University of Cincinnati, 2006.<br>Title from electronic thesis title page (viewed July 21, 2006). Includes abstract. Keywords: art; American art; women in art; Frederick Frieseke; Frederick Carl Frieseke; Frieseke; American Impressionism; Giverny Group; women in paintings; women in American art; women in Impressionism; Impressionism; neurasthenia; rest cure; mirrors in art; nude; nude in art; nude in American art; nude in American Impressionism; nude in Impressionism; 19th-century art; 20th-century art; domestic scenes in art; domestic interiors in art; interiors in art. Includes bibliographical references.

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6

Steinway, Elizabeth V. "Verbal Cues, Visual Clues: Expressions of Women and Medicine in Early Modern Paintings and Drama." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303855731.

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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.

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8

Morioka, Michiyo. "Changing images of women : Taisho-period paintings by Uemura Shoen (1875-1949), Ito Shoha (1877-1968), and Kajiwara Hisako (1896-1988) /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/6225.

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9

Merlin, Monica. "The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.

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Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.

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Walsh, Kerry. "Potions and painting." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040701.155706/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003.<br>"A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.

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11

House, Felice. "War women: a motivating legacy enhanced." Texas A&M University, 2005. http://hdl.handle.net/1969.1/3781.

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Motivated by the need for strong female depictions in our culture, as well as the desire to research and pay tribute to the women workers of World War II, the author initiated the War Women project as the focus of this thesis. The objective of the project was to create a series of large-scale paintings of the women defense workers of World War II that could be used to pass down these womenÂs motivating legacy and reveal its contemporary context. To begin the project, nine historical photographs were chosen as source material for an original set of nine paintings. A problem arose when attempting to paint these images because the photographs chosen were low in resolution, leaving them vague and undefined. Though sufficient for creating the basic idea for a painting, the chosen photographs needed to be enhanced and re-created to become useful source material for the series of representational paintings. To enhance the images, props and models were found, photographed, and, in one instance, three-dimensionally modeled to replace their counterparts in the original photograph. Digital techniques like compositing, colorizing, and color correcting were essential tools for reinventing the source material. The resulting images were adequate source material for the series of nine paintings completed for the War Women project.

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12

Preece, Georgia. "Women, painting and critical practice in Britain 1984-1992." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368175.

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Missia, Frano G. "Painting the nude by male artists in Western art /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396210.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.<br>Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: Rene Arcilla. Includes bibliographical references (leaves 112-113).

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14

Lee, Chanju. "Birth and Women in Mythology." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/35.

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The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.

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15

Miller, Jennifer Anne. "The Politics of Nazi Art: The Portrayal of Women in Nazi Painting." PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.

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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.

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Leung, Mei-yin. "The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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17

Cook, Alicia McCaghren. "Edgar Degas's fan shaped designs art, decoration, and the modern woman in late-nineteenth-century France /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/cook.pdf.

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18

Chiang, Milly Yau Laam. "Minguo shi qi Shanghai chuan tong shi nü hua yan jiu /." View abstract or full-text, 2006. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202006%20CHIANG.

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19

Andrews, Susan Lesley, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "An imaginary other." THESIS_FPFAD_SD_Andrews_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/458.

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This research paper focuses on a specific period in western art history. The eighteenth and ninteenth centuries held fascination for the author as it marked the beginnings of modern science, a time when the artist and scientist collaborated in a mythical search for a key to unlock the mysterious realm to the unknown. The artist/scientist set on course to discover a new frontier thought to be buried somewhere in woman's body.The paper has been formulated into three chapters. The author has examined how the representation of the body of woman was reduced to a stereotype in both art and science. By examining eight images, she has sought to expose the subjective nature of the artists/anatomists' investigation during this period in history and reveal how art and science formed a complicit alliance in the misrepresentation of the body of woman. Her body became the site and the chosen medium for the projected fears and phantasies of the male imaginary<br>Master of Arts (Hons)

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20

Asif, Noor A. "Women Surrealists: Muses or Seekers?" Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/826.

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Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.

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21

Stent, Sabina Daniela. "Women Surrealists : sexuality, fetish, femininity and female Surrealism." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3718/.

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The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.

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Dimitrakaki, Angela. "Gender, geographies, representation : women, painting and the body in Britain and Greece, 1970-1990." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269906.

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Cleland, Elizabeth Adriana Helena. "More than woven paintings : the reappearance of Rogier van der Weyden's designs in tapestry." Thesis, Courtauld Institute of Art (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397172.

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24

Mulley, Elizabeth. "Women and children in context : Laura Muntz and representation of maternity." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36781.

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This thesis is concerned with several aspects of the life and work of the Canadian painter Laura Muntz (1860--1930). It examines in particular Muntz's images of women and children both within the cultural themes and ideologies of the period and from the perspective of contemporary twentieth-century theories of gender. The introduction and literature review outline the broad issues surrounding the artist in her time and present a summary of her critical fortunes in Canadian art historical literature. Chapter one provides a discussion of Muntz's life and artistic production between 1860 and 1898, the year in which she returned to Toronto after a decade of study and work in Europe. The following two chapters are conceived as case studies of single paintings, observed in the context of various discourses that surround them. Chapter two analyses Muntz's Madonna and Child in terms of hereditarian theories, eugenics, maternal feminism and the Canadian social purity movement and considers the broader, psychological implications of gender, specifically in the fin-de-siecle associations of femininity and death. Chapter three examines the imagery in Muntz's Protection with reference to North American Symbolist painters and their relationship to the constructs of the feminine ideal. As a whole, the thesis elucidates the complex layers of meaning that Muntz's images of women and children contributed to the popular conceptions of femininity and motherhood current in her time.

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Smith, Sandra A. "Uli metamorphosis of a tradition into contemporary aesthetics /." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1267478083.

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Thesis (M.A.)--Kent State University, 2010.<br>Title from PDF t.p. (viewed Apr. 28, 2010). Advisor: Fred Smith. Keywords: Uli; Igbo; Nigeria; body painting; wall painting; Nsukka; traditional women painters. Includes bibliographical references (p.101-105).

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Leung, Mei-yin, and 梁美賢. "The Chinese Women's Calligraphy and Painting Society: the first women's art society in modern China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.

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27

Carotenuto, Gianna Michele. "Domesticating the harem reconsidering the zenana and representations of elite Indian women in Colonial painting and photography of India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2024771361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Foster, Victoria Louise. "Painting a picture of Sure Start Parr : exploring participatory arts-based research with working-class women." Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439492.

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Albekord, Nargges S. "Naked women the unity in dialectic forces." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4830.

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This study investigates my art works, their context, content, and the process by which they were produced. The first part of the study addresses my background ideas and philosophies, their impact on my works, and the environmental and psychological context which made those ideas relevant to my paintings. I am not concerned with answering the usual questions, What is art? and Who is an artist? My intention is to find out who I choose to be and what I choose to do. The second part investigates the form and design of the art works--from the materials used to make them to the various formal elements utilized in creating them. The connection of form and content in these art works is emphasized. The last part of the study investigates the influences of a few significant artists and the impacts of their works on my art. The future of my art work is, of course, not predictable, and it does not depend on this study. This study is only as factual, reliable, and truthful as my art work is.<br>ID: 029809463; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 48-52).<br>M.F.A.<br>Masters<br>Art<br>Arts and Humanities<br>Art and Design

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Anderson, Catherine Eva. "Embodiments of empire: Figuring race in late Victorian painting." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3328111.

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Anesti, Maria. "'La femme modèle' from the first communicant to the affectionate mother : a dialogue between painting and moral discourse under the early Third Republic (1870-1900)." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7574.

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This PhD dissertation seeks to define the configuration and evolution of French women’s moral identity and social status, through works of art created during the first thirty years of the Third Republic (1870-1900). More specifically, my thesis investigates the artistic perception and visual recording of “traditional” female roles and analyses the socio-historical factors which contributed to the construction of the ideal woman. I focus on the representation of young girls’ education and First Communion and study the portrayal of maternity which was perceived both as a personal role and a republican ideal. Furthermore, I consider the institutions of marriage and family through portraits and scenes of everyday life. The woman’s relations to the Catholic Church within a secular state, as well as the notions of chastity and patriotism, are thoroughly explored. In my dissertation I prioritised nineteenth century texts, where French doctors, demographers and statesmen from different ideological backgrounds give moral guidelines concerning hygiene, breastfeeding and childcare, or analyse phenomena such as the birth rate decline. The writings of these authors who communicated major social anxieties served as an evaluative platform; more specifically, I ventured to see how French painters and illustrators participated to the most important debates of their time. Therefore, the criterion for the choice of images was not artistic excellence, but their engagement with the moral and social issues I decided to consider. Since in my thesis pictures are treated within a socio-historical context, I was challenged to achieve a balance between the visual and theoretical material, making them inter-relate effectively. Finally, my time-frame covers the three first decades of the French Third Republic and observes the succession of different governments. I investigate to what extent certain social attitudes which were developed during this period of thirty years shifted, and try to find out whether these alterations are conveyed in painting.

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Balic, Iva Foertsch Jacqueline. "Always painting the future utopian desire and the women's movement in selected works by United States female writers at the turn of the twentieth century /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11060.

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Strasik, Amanda Kristine. "Reconceiving childhood: women and children in French art, 1750-1814." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/5647.

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My dissertation examines visual representations of children and childhood in French art from the 1750s until the first decades of the nineteenth century. This period in France is distinct because of the sweeping social and political changes with which images of children and childhood were in dialogue, including the redefinition of bourgeois familial relationships, new medical discoveries that influenced how artists interpreted the human mind and body, the chaos of the French Revolution, and the rise of Napoleon and his codification of the laws of nature. By 1750, Enlightenment thinkers and social reformers viewed the education, nurturing, and protection of innocent children as among the fundamental moral acts that defined humanity. Childhood, once considered insignificant, became a special period of human development that women were naturally suited to cultivate. Amidst the corruption of the Ancien régime, the violence of the French Revolution, and the instability of the state, children were unthreatening emblems of social regeneration and hope. Throughout my dissertation, I explore how the complex written and visual language of nature informed artists’ conceptions of children and childhood during the long eighteenth century. Opposing themes of nature’s wildness, containment, wholesomeness, and mysteriousness in different forms paralleled discourses on children and child-rearing. Prominent eighteenth-century artists like Chardin, Boucher, Fragonard, Greuze, Vigée Lebrun, Marguerite Gérard, and others analyzed contemporary scientific, philosophical, artistic, and pedagogical movements to depict children naturally. Even when Romantic artists like Géricault or Prud’hon imagined nature as a dangerous or mystical entity, the emphasis on the unique truthfulness of a child’s character continued to be a subject of great interest, especially when the scientific community recognized child psychology and pediatrics as their own fields of medical study in the early nineteenth century. Compared to studies that have broadly surveyed the ideologies of childhood as reflected in art, my dissertation investigates the socio-historical contexts in which representations of children were commissioned, produced, and displayed. Why did revolutionary events, artists, and patrons appropriate images of the enlightened child? I propose that representations of children from this period offer indisputable symbolic value: they functioned emblematically to advance the morality of a woman’s reputation, or to philosophically communicate an idea about the state of French society during key moments of social and political upheaval. Through a study of images of pastoral children for Madame de Pompadour, representations of bourgeois children with pets, portrayals of the royal children during the French Revolution, and Romantic depictions of children in portraiture, my dissertation traces the socio-historical implications of the representations of children and childhood to make way for new interpretations of artworks.

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Davies, Eranah Laura Ann. "SKELETON WOMAN: EMBRACING THE UNKNOWNALLOWS FOR SURPRISES." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1429968887.

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Kalkat, Saloni Kaur. "Daughter, Wife, Mother: Women as Emblems of Indian Authenticity Throughout the Diaspora." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/925.

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It has been over a century since the maternal side of my family has resided in the natal land of our cultural heritage and religious proclivities – Punjab, India, where Sikhism was established. As an American I continue this extension of our roots from their source. Through the process of shifting location, cultural confluence, and passing time the experiences of the women in each successive generation of my family have altered significantly through our diasporic existence. However, even in the aftermath of colonization and immigration, the enduring responsibility of women is reliant upon their relation to family. This ideology is imbued through the words of the Sikh holy text, the Guru Granth Sahib, as well as broader Indian cultural norms regarding gender roles. Implicit in the religious tradition of locating family in female members lies the practice of making women emblematic of cultural survival. Thus, within their role of sustaining physical life women also sustain culture. This becomes increasingly important when culture is extracted from its source. Despite dispersion across the world, the women in my family have continued to fulfill the responsibility of the safekeeping of culture and traditions. My series of three portraits, Daughter, Wife, Mother, illustrates the primary familial ties that determine an Indian woman’s identity throughout her life, and evokes the duty of cultural preservation that is associated with each of them. These oil paintings are based off of photos of me, my mother, and my grandmother from our family archive. Daughter, Wife, Mother lacks any indications of time period or specific location, thus asserting that this gendered life journey has persisted throughout my family’s diaspora.

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Brown, Kathryn Jane. "Reading and a space for the imagination : the woman reader in French painting 1860-1890." Thesis, Birkbeck (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444360.

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Prasertwaitaya, Leila. "The Construction of Female Identity in Mughal Painting: Portraits of Women from the Shah Jahan Period (ca. 1628-1658)." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/607.

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Paintings of women as individual subjects were a popular theme in the Mughal court during the mid-seventeenth century, or the Shah Jahan period (ca. 1628-1658). These portraits depict idealized archetypes with subtle differences in facial and bodily features. The same portrait conventions were used for both historical and imaginary women. This thesis has three aims: (1) identify and explain the significance of three elements that visually represent an ideal Mughal woman using a case study from the Virginia Museum of Fine Arts called Page from the Nasir al-Din Shah Album: Portrait of a Mughal Woman (ca. 1630-45), (2) combine visual and textual sources to further the study of Mughal women, and (3) reinsert the portraits of Mughal women within a larger scope of female imagery in Indian art to show that Mughal paintings encompass just one part of a much bigger story. Paintings of Mughal women are not only aesthetic works of art—they are historical artifacts.

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Tupper, Denise. "My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.

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This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.

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Ferone, Jennifer. "Women and China Painting at the Turn of the Twentieth Century: An Analysis of the Influence of The Art Amateur and The Art Interchange." Akron, OH : University of Akron, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1163640056.

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Thesis (M.A.)--University of Akron, School of Family and Consumer Science: Clothing, Textiles, and Interiors, 2006.<br>"December, 2006." Title from electronic thesis title page (viewed 08/20/2007) Advisor, Virginia Gunn; Faculty readers, Sandra Buckland, Teena Jennings-Rentenaar; Director, School of Family and Consumer Science, Richard Glotzer; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

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David, Elise. "Networks Sketched in Ink: Wu Shujuan (1853-1930) and the Business of Female Celebrity in the Shanghai Art World." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574694405893491.

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Rosshandler, Michelle. "A historiography of idealized portraits of women in Renaissance Italy : the idea of beauty in Titian's La Bella." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83147.

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Renaissance art historians concur that women were characteristically depicted as ideal types in Renaissance portraiture. Nonetheless, the historiography of portraits of women in Renaissance Italy reveals generational shifts between scholars. Male scholars writing in the nineteenth-century to the mid twentieth-century applied formalist and cultural historical methodologies. Recent scholars raise issues that were previously neglected, such as social historical and feminist concerns. Following this rationale, I argue that the changing interests of scholars have altered the interpretations of portraits of Renaissance women. Moreover, this historical difference is split along gender lines in the historiography of Titian's La Bella. A critical review of the literature on this painting shows that male scholars, such as John Pope-Hennessey, Harold E. Wethey, and Charles Hope define the work in formal terms, such as "charming" and "pretty," whereas female scholars such as Elizabeth Cropper, Patricia Simons and Rona Goffen concur the work to be a synecdoche for the beauty of painting itself. A historiography of Titian as a portrait painter confirms that recent scholars have shifted focus from formal studies to an assessment of the social context, conditions of patronage and the feminist issues surrounding the artist's portraits.

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Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.

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This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.

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Mosco, Natalie. "On creating A brush with Georgia O'Keeffe /." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/43722.

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Thesis (D.C.A.)--University of Western Sydney, 2008.<br>A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the Doctor of Creative Arts. Includes bibliographical references.

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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.

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Master of Philosophy<br>Grace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)

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Daščioras, Sigitas. "Skaitmeninės tapybos darbų ciklas "Žvilgsnis į priekį, žingsnis atgal"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_083315-48135.

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Masinėje kultūroje vaizduojamas žmogaus kūnas dažniausiai atrodo labai įprastas ir fiziškas. Visuomenėje pastebima, kad tik skirtingos mokslo disciplinos tyrinėja tam tikrus kūno vaizdavimo metodus. Kūnas dažniausiai egzistuoja kaip, fiziologinis, anatominis, etnologinis, religinis ir estetinis. Diplominiame darbe „Žvilgsnis į priekį, žingsnis atgal” analizuojama moters, kaip stebimojo objekto raida tradiciniame mene, kine ir videomene. Pagrindinė, kylanti iš moters kaip žiūrimojo meno objekto sampratos problema yra, kaip galima konceptualizuoti realų žiūrovo žvilgsnio mechanizmą ir žiūrėjimo malonumą, kito¬kį, nei tapatinimasis su vyriškojo žvilgsnio objektu. Diplominiame darbe nagrinėjami moters įvaizdžio kaita mene ir naujas požiūris į moterį, kaip vertinamąjį meninį objektą. Normatyvinėje lyčių sistemoje, kurią sergsti heteroseksualumo imperatyvas, paprastas žiūrėjimo situacijos apvertimas neįvyksta (vyrui tapus stebėjimo objektu, moteris automatiškai netampa stebinčiu subjektu). Todėl, siekiant struktūrinių permainų vaizdinėje lyčių reprezentacijoje, teko nagrinėti patį heteroseksualinį imperatyvą. Skaitmeninės tapybos portretų cikle „Žvilgsnis į priekį, žingsnis atgal” bandyta žiūrintįjį ir žiūrimąjį sukeisti vietomis ir paversti moterį iš vertinamojo objekto į vertintoją.<br>Human flesh for many it seems very normal and physically. In a society noted that only they are capable of different academic disciplines to engage in some physical exploration. The body exists as physiological, anatomical, ethnological, religious and aesthetic. The paper analyzes the woman as object tracking developments in the traditional arts, cinema and video art. The main problem arising from the woman observed an object of art concepts: how to conceptualise the actual mechanism of sight of viewers and viewing pleasure, other than an identification with the object of male gaze. The work deals with women in the art of image change and a new approach to women, as assessed in an art object. Gender-operative system, which is imperative sergsti heterosexuality, a simple viewing situation inversion takes place (the man has become the object of observation, the woman does not become automatically monitor the subject). Therefore, to structural changes in the image of gender representation, had to consider the most heterosexual imperative. Digital portrait painting series "Looking forward, step backward and watching a visible attempt to reverse and transform a woman into an object of the benchmark estimator.

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Miller, Emily Frances. "Aftermath." [Johnson City, Tenn. : East Tennessee State University], 2004. https://dc.etsu.edu/etd/880.

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Thesis (M.F.A.)--East Tennessee State University, 2004.<br>Title from electronic submission form. ETSU ETD database URN: etd-0329104-103954. Includes bibliographical references. Also available via Internet at the UMI web site.

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Andrews, Susan Lesley. "An imaginary other /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030915.151821/index.html.

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Higley, Morgan Yonan Michael Elia. "The developing child in three portraits by Anne-Louis Girodet." Diss., Columbia, Mo. : University of Missouri-Columbia, 2009. http://hdl.handle.net/10355/6728.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Dr. Michael Yonan. Art work removed from thesis by author. Includes bibliographical references.

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Lane, Kathryn. "Representaciones de Figuras Feministas en la Muestra Despierta!" Scholarship @ Claremont, 2008. http://scholarship.claremont.edu/pitzer_theses/6.

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Elizabeth Waltenburg es una artista contemporánea argentina. En su muestra, despierta!, las obras en óleo sobre tela representan a mujeres, niños y animales en fondos extraños y deprimidos. Ella utilize simbolismo de animales y figuras femeninas para discutir el feminismo actual. Ella trabaja en un tiempo complicado por el feminismo, el postfeminismo, la critica de ambos, y un sistema de comunicación global. Su trabajo marca una tendencia hecho por la confusión de todos estos movimientos. Esta tesis discute su trabajo en el contexto de la historia de representaciones de mujeres, de niños y de animales para llegar a una mejor comprensión de los que hace ella. English: Elizabeth Waltenburg is a contemporary Argentine artist. In her show, “Wake Up!”, the oil on canvas works represent women, children and animals on strange and depressed backgrounds. She uses the symbolism of feminine and animal figures to comment on contemporary feminism. She works in a complex era marked by feminism, post-feminism, criticism of both schools and a system of global communication. Her work incorporates elements from all the issues above. This thesis discusses her work in the context of the history of representation of women, children, and animals in order to arrive to a better comprehension of the kind of work she does.

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Stodolnik, Dorighello Veronica. "When Fashion Encounters the Arts: an Henri Matisse Inspired Spring/Summer 2014 Womens Wear Collection." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1400239202.

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