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RAPOSO, KADIANA MENDES DE MEDEIROS. "JACKSON POLLOCK: DAEDALUS S WAY". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17072@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORA obra pictórica de Jackson Pollock está geralmente associada à invenção do all over e das drip paintings na segunda metade da década de quarenta em Nova Iorque. De fato, tal é o momento de maestria da força poética de Pollock que, depois de anos de insistente busca da sua verdade, finalmente dá o salto que irá repotencializar toda a aventura plástica moderna, que naquele momento vivia um impasse. Esta dissertação propõe repensar o estudo da pintura de Pollock, seguindo pari passu o desenvolvimento do artista, desde o início nos anos trinta até as black paintings, último grande momento, buscando ver o que está sendo dito na obra e também o seu silêncio. O que torna-se realmente estimulante tendo-se em vista a musicalidade latente das pinturas. A pintura de Pollock deixa-se apresentar como um todo complexo, e à primeira vista contraditório, sobretudo pela diferença que marcam as fases de sua carreira. Entretanto, e aqui concentrou-se o meu esforço, visualizamos por entre o convulsivo das linhas labirinto, uma coerência na busca essencial do artista, qual seja, dar ritmo e vida à pintura. No caso de Pollock, isso tem um peso excepcional, uma vez que diz respeito a aspectos fundamentais da linguagem pictórica moderna. Jackson Pollock faz a maxima afirmação da pintura moderna no pós-guerra, e paradoxalmente, assinala um impasse que sua própria radicalidade acabou por gerar.
Jackson Pollock’s paintings are usually associated with the all over and drip paintings’ inventions during the mid-forties in New York. In fact, that’s the moment where his genius came to the most exciting period of his career. After years of struggling within, he finally “broke the ice” and started to reevaluate the plastic modern adventure. This dissertation is about Pollock’s paths, since the beginnings of the thirties until the black paintings, his last big period. At first, Pollock’s work seems complex and very contradictory, however, and that’s my point, if we see through this labyrinth a very coherent line lies underneath the appearance, in search for life and rhytms to his paintings. In Pollock’s case, it gains a special flavour for it deals with fundamental aspects of the modern alphabet. Jackson Pollock makes an assertion of the painting and paradoxically reveals an impasse that his own radical art generated.
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Kazepis, Tony. "From Jackson Pollock to theatre". Thesis, Federation University Australia, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/164863.
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Müller, Toni. "A psychobiography of Paul Jackson Pollock". Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1554.
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While the value of psychobiographical research continues to be debated, interest in this area is growing on an international basis. From the ever increasing number of studies being conducted in connection with academic institutions in South Africa, the vitality and worthiness of studying lives lived in conjunction with the applicability of psychological theories is showing itself to be an exciting world in which to participate. This particular research study aimed to explore and describe the developmental life stages of Paul Jackson Pollock. Pollock was, and continues to be, a controversial figure in the art world as there is much debate over the artistic merit of his paintings. Unconventional in all that he did, Pollock challenged the art world by moving beyond paintbrush and easel to throwing paint across canvasses laid out on the floor. Around these emerging artworks he would move in a staccato dance, mesmerising those present by the way he made art immediate using his entire body to create the abstract image. Pollock is credited with being the pioneer of abstract expressionism in the United States, and to date his paintings are credited as being among the most expensive ever sold. He struggled with alcoholism and emotional instability throughout his teens and adult life. His alcoholism eventually caused his death at the age of 44 when, while heavily intoxicated, he drove his car into a tree a few metres from his home. No known literature has adopted an exclusively psychological stance when studying the life of this individual. The progression of Pollock’s lifespan development was filtered through Erikson’s (1950) theory of psychosocial stages. Erikson’s (1950) theory takes a holistic, biopsychosocial approach to human development, with an emphasis on ego development. Data was collected from both primary and secondary sources to enhance internal validity, and the data was then analysed according to Miles and Huberman’s 1994 general approach, taking Alexander’s (1990) nine identifiers of salience into necessary consideration. Using this framework, it was found that Jackson Pollock’s development coincides with Erikson’s theoretical psychosocial stage constructs, lending weight to Erikson’s theory. While Pollock’s life paralleled Erikson’s (1950) theory in many ways, the theory failed to provide enough definition with regards to constructs and intrapsychic processes. However, this study has also shown that there is great value and relevance to be found in Erikson’s (1950) theory, even though it was developed over fifty years ago.
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Roncone, Natalie Maria. "Jackson Pollock, 1930-1955 : the influence of the Old Masters". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/3048.
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The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.
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Hardman, Andrew. "Studio habits : Francis Bacon, Lee Krasner, Jackson Pollock and Agnes Martin". Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/studio-habits-francis-bacon-lee-krasner-jackson-pollock-and-agnes-martin(972d3759-4ecf-48d5-9995-beae9229348c).html.
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This thesis is about studio habits. Specifically, it considers what happens in practice in the artist's studio and ways in which creative acts have been visualised and disseminated. The chapters of this thesis are organised around views of the studios of four twentieth century painters: Francis Bacon (1908-1994), Lee Krasner (1909-1984), Jackson Pollock (1912-1956) and Agnes Martin (1913-2005). Each of these artists' studio habits has been fundamental to their respective mythologies and the studios they occupied in their lifetimes have inflected discussion of their work. Drawing on critical theories of sexuality, gender and space, this thesis argues that the idea of the artist as a master continues to dominate as an explanation of art-making but that this characterisation is called into question by these four artist's specific practices in the studio. Close readings of the studio habits in these case studies, considered here as a situated negotiation between artist and studio, challenges the idea of mastery that studio-view exhibits and images tend to promote. Notions of mastery are inclined to construct practice as a paradigm between an active artist and passive studio materials and these, in turn, are apt to be read in terms of masculinity and femininity, respectively. Thus, the role of studio artist has tended to privilege a male lead. Therefore, analysing particular performances of masculinity by these artists provides a means to contest reading studio-view images as statements of mastery and the damaging and inequitable connotations this designation implies. Furthermore, this thesis argues that the recent trend to preserve studio material, or to otherwise encompass traces of practice in exhibits, films and photographs, may be correlated with theoretical shifts which took place in latter half of the twentieth century as a response to philosophical losses entailed in the critique of authority and objecthood and the rise of performance and conceptual art practices.
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Tão, Sofia Inês Soares Fernandes. "Arte labiríntica e poética do caos: À volta do caos ordenado de Jackson Pollock". Master's thesis, ISPA - Instituto Universitário, 2012. http://hdl.handle.net/10400.12/2328.
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Dissertação de Mestrado apresentada ao ISPA - Instituto Universitário, na especialidade de Psicologia ClínicaA presente dissertação constitui-se como um exercício de Psicanálise Aplicada, sendo objecto do nosso estudo a análise e interpretação das obras clássicas de Pollock (1912/1956), pintor inserido na corrente do expressionismo abstracto. Partimos de um paradigma interpretativo psicanalítico visando inferir as forças e dialécticas subjacentes à Arte Labiríntica e Poética do Caos, desvelando indirectamente as dinâmicas internas do autor. Tendo por base a revisão de literatura e as teorias psicanalíticas, propomos uma leitura das obras sob o prisma da Arte e da Criatividade, salientando a análise dos processos de sublimação, reparação e a oscilação entre a dispersão e a integração, processo cuja síntese é o caos ordenado. Debruçamo-nos sobre o conceito de Caos e nos processos transformacionais, terapêuticos da criação pela Arte, da pintura/tela enquanto espaço potencial contentor de elaboração do material psíquico inconsciente. O objectivo deste ensaio prende-se com o estudo dos conceitos e problemáticas acima referidos, interligados e emparelhados numa leitura/análise interpretativa aprofundada pela via (inter)subjectiva – uma hermenêutica do sentido e significado – das obras/séries denominadas drip paintings (1947/1950) produzidas no auge das suas capacidades artísticas e criativas. ------ ABSTRACT ------ This dissertation constitutes an exercise of Applied Psychoanalysis, were the object of our study is the analysis and interpretation of abstract expressionist artist Jackson Pollock’s (1912/1956) major works. We start from an interpretative analytical paradigm aiming to infer the forces and dialecticals behind the Labyrinth Art and Poetry of Chaos, indirectly revealing the internal dynamics of the author. Based on the literature review and psychoanalytic theories, we propose a reading of the works through the standpoint of Art and Creativity, stressing the analysis of the processes of sublimation, repair and oscillation between dispersion and integration, in synthesis, ordered chaos. We address the concept of Chaos and transformational processes, therapeutic in creating through Art, where the painting/canvas is a potential holding space for unconscious psychic material. The purpose of this essay lies in the study of the above mentioned concepts and issues, paired and interconnected in a (inter)subjective interpretive analysis. - a hermeneutics of meaning and significance - of the works / series called drip paintings (1947/1950) produced at the height of Pollock’s artistic and creative abilities.
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LEVA, SHANNON ARMSTRONG. "JACKSON POLLOCK'S 1942 PAINTINGS: DEPICTIONS OF HERMAPHRODITIC UNION". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1195578410.
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Mori-leite, Thiago. "Linguagem - intensidade - performance". Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/1820.
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Previous issue date: 2011-06-21Fundo Mackenzie de Pesquisa
This paper presents an investigation regarding how the artistic languages of music and painting can share and exchange aesthetic elements related to the organization (or even, sometimes, the disruption) of language structures, executed by the artists during their creating process. Right after the Second World War, New York City was made home by artists who expressed themselves in different ways, a fact that made possible the emergency of many artistic movements, including two artistic vanguard that stood by improvisation and spontaneity in the creative process: John Coltrane‟s Free Jazz and Jackson Pollock‟s Action Painting. Both artistic movements have always been intertwined and supportive to each other. Although their languages belong to different arrays, its elements are transfigured among the two territories. Proposing an analysis in semiotic and aesthetic terms, this paper attempts to relate the main artistic elements in the performances of a jazz musician and an abstract expressionist painter: the intensity with which their works are produced throughout their improvisations. The documents, the main biographical references, including recordings of artists‟ performances - videos, discographies and pictures - used during the research are from the period between 1947 and 1967
Este trabalho parte de uma averiguação de como as linguagens artísticas da música e da pintura podem intercambiar elementos estéticos através do modo como os artistas organizam, ou, às vezes, desorganizam toda linguagem estrutural vigente durante o processo de criação de suas obras. Logo após a segunda grande guerra mundial, a cidade de Nova Iorque abrigava artistas de áreas distintas, fomentando o aparecimento de vários movimentos artísticos, entre eles duas vanguardas artísticas que se destacavam pelo improviso e pelo caráter de espontaneidade durante o processo criativo: o Free-Jazz de John Coltrane e a Action Painting de Jackson Pollock. Os dois movimentos artísticos sempre estiveram entrelaçados dando suporte um ao outro. Suas linguagens pertencem a matrizes diferentes, mas seus elementos se transfiguram nas duas esferas. Analisando semiótica e esteticamente as performances de um músico de jazz e de um pintor expressionista abstrato, este trabalho busca relacionar o elemento principal de suas artes: a intensidade com que produziam suas obras através de seus improvisos. Os documentos, as principais referências biográficas, inclusive os registros performáticos dos artistas vídeos, discografias e pinturas utilizados nesta pesquisa são do período compreendido entre 1947 e 1967
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Lynch, Regina. "Corporeal Modernity: Shared Concepts in the Work of Jackson Pollock, Martha Graham, and Merce Cunningham". Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197560.
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Art HistoryM.A.
Although working in two different mediums, Jackson Pollock, Martha Graham, and Merce Cunningham created works during the 1940s and 1950s that share several analogous formal characteristics, as well as a body-centered process that reminded viewers of both the corporeality of the artists and of themselves. My thesis identifies and interprets the formal analogies evident in each the artists' approach to asymmetry, repetition, gravity, and space. I argue that the common aspects among the works of the three artists resulted from their participation in a shared modernist discourse circulating post-war America, especially in New York. This discourse provided the artists access to common sources of inspiration, such as the writings of Carl Jung, Native American imagery, and Asian cultures. Each of these elements characterizes the work of all three artists, along with similar ideas concerning the individual, national identity, and modern technology.
Temple University--Theses
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Berger, Doris. "Projizierte Kunstgeschichte Mythen und Images in den Filmbiografien über Jackson Pollock und Jean-Michel Basquiat". Bielefeld Transcript, 2007. http://d-nb.info/991632486/04.
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Kim, Hwa-Ja. "L'élaboration de la perception esthétique à partir des oeuvres de Maurice Merleau-Ponty et de Mikel Dufrenne : devant les tableaux all-over de Jackson Pollock". Paris 10, 2000. http://www.theses.fr/2000PA100165.
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L'art abstrait qui refuse toute figuration est considere comme le retour a la subjectivite solipsiste d'un individu. Nous avons elabore la perception esthetique a partir de la perception phenomenologique de maurice merieau-ponty et de mikel dufrenne, parce que merleau-ponty a bien eclaire l'aspect prereflexif de la perception a travers la relation intentionnelle du corps et de l'objet, et que dufrenne a bien montre la fonction du sentiment a la fois epistemologique et phenomenologique a travers l'interpretation ontologique sur l'a priori qui permet au recepteur l'intuition esthetique, pour demontrer que le geste expressif du pollock dans les tableaux all-over n'est pas le retour au spirituel d'un individu, mais l'avenement du sensible a la presence qui exprime encore la verite d'un monde eprouve par lui. Les trois plans de la perception esthetique qui sont la presence, la representation et la reflexion, explorent successivement la matiere sensible par le corps, la signification du sujet, ou du titre par l'imagination, et les regles, les codes conventionnels par l'entendement, le sens profond et invisible par le sentiment. La perception esthetique elaboree a partir de l'esthetique phenomenologique nous permet de sentir que le geste expressif dans les tableaux all-over de pollock n'est pas le retour a la subjectivite absolue d'un individu, mais l'apotheose du sensible a ta presence qui nous permet d'eprouver la verite universelle et humaine au dela de toutes les differences.
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Sondag, Gérard. "Poétique de l'expressionnisme abstrait : Pollock, Rothko, Newman". Paris 1, 1986. http://www.theses.fr/1986PA010580.
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La partie historique relate la genèse de l'expressionnisme abstrait. La partie théorique définit les concepts et méthodes utilisés dans la troisième partie : nature et buts de l'activité artistique du peintre, avec une analyse appliquée des effets de rétroaction dans la recherche de nouvelles voies artistiques; étiologie de l'œuvre d'art, avec un examen particulier de la relation d'expression, philosophiquement redéfinie; méthode d'analyse des qualités plastiques; méthode d'étude des rapports entre fins artistiques et œuvres. La partie critique étudie l'œuvre peinte de Pollock, Rothko, Newman. Après une étude de la littérature critique sur Pollock, l'auteur propose sa propre interprétation, centrée sur la période des drippings. L'art de P. Est rapporté à l'esthétique pragmatiste américaine et éclairé par le concept d'interaction, simple et complète. Ce concept explique l'évolution du peintre, du figuratif à l'abstrait et vice-versa. Les traits originaux de l'œuvre de Rothko sont son aura (intemporalité esthétique), sa charge sacrale (réminiscence de motifs religieux dans un art profane) et une composition particulière, dite "figurale", de la peinture. L'auteur analyse la pensée artistique de Newman à travers ses écrits, et définit ses peintures comme "tableaux-symboles" (ou le tableau contient moins une image du sujet, qu'il n'est lui-même à l'image du sujet). L'art de N. Est rapporté à la théorie du sublime dans l'art et la littérature, du pseudo-longin à nos jours. Annexes : diagrammes et schémas de tableaux, traduction française d'un essai de Newman, index des noms, index analytique des termes de théorie de l'art (ou poétique), d'esthétique, de critique d'art et d'histoire de l'artThree parts. The historical part relates the birth of abstract expressionism. The theoretical part defines the concepts and methods applied in the third part : nature and aims of the artistic activity in painting, with a special analysis of feed-back effects in the discovering of new artistic ways; factors of the work of art, particulary the expression of the artist, philosophically re-defined; method of esthetic analysis of pictorial qualities; method of investigating the relations between artistic aims and works. The critical part studies the painted work of Pollock, Rothko and Newman. After an investigation of the critical literature on Pollock, the author explains his own interpretation, focused on the drippings period. P's art is linked up to the american pragmatist esthetics and explained through the concept of mere and complete interaction. This concept helps clarify unexplained shifts in p's evolution, from representative to abstract art and from abstract to representative art. The salient features of Rothko's work are its aura (esthetic timelessness), its sacral meaning (reminiscent of religious topics in profane art) and a peculiar shape ("figural" shape) of the painting. The author analyses the esthetic thinking of Newman in his writings and defines his paintings as "symbolic pictures" (the picture itself is an image of the subject matter, rather than containing an image of it). N's esthetics is linked up to the theory of the sublime in art and literature from pseudo-longin untill today. Appendix : diagrams of paintings, french translation of an essay by Newman, index of names, index of technical terms (theory of art, esthetics, art criticism and history of art)
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Molyneux, Joan. "Chance and Serendipity: Locating the Sublime". Thesis, Griffith University, 2010. http://hdl.handle.net/10072/366126.
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This exegesis examines the differences between chance and serendipity in contemporary art, with particular reference to the sublime. I use two major qualitative research strategies to clarify these differences: (1) Fine and Deegan’s (1996) methodology which emphasises the importance of serendipity in research and; (2) case studies with the artists Jackson Pollock and Rebecca Horn, analysed in light of several authors such as Kant and Burke. Data on these themes of chance, serendipity and the sublime has not only been collected from books, archives, published reports, reviews and interviews, but also from studio investigations deriving from on-site engagements with a location known as Gorman’s Gap near Toowoomba in Southern Queensland, Australia. This studio work entitled Located Dialogues is contextualised through analyses of Pollock and Horn. I make the claim that Jackson Pollock’s drip paintings are better understood through theories of serendipity rather than chance. In addition, Pollock’s drip paintings are analysed alongside the seemingly disparate mechanical drawings of Rebecca Horn in order to demonstrate their alignment with the idea of the dynamic sublime. Throughout this research it has been my close association to these artists and certain aspects of their work that has directed my line of enquiry and informed my art practice. This study creates a methodology suitable for further research into the serendipitous in art practice.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Arts
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Lee, Sook-Kyung. "The changing conceptions of the artist in the age of authorial demise : a study of Jackson Pollock and Andy Warhol". Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437827.
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Arcan, Zeyno. "Empreinte, emprunt et impression : vers une peinture scéno-graphique, sur les traces de Pollock, Klein et Bacon". Paris 8, 2006. http://www.theses.fr/2006PA082670.
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Ma peinture scéno-graphique est née au début des années 1990 dans un contexte de crise de l’art contemporain. Elle reflète des influences de Pollock, Klein et Bacon, que je ne revendiquais pourtant pas. Mes recherches ont donc pour but de mettre en lumière la nature des relations entre ces trois peintres et ma peinture. En croisant des regards critiques, historiques, humanistes et philosophiques sur Pollock, Klein et Bacon et osant l’application d’une analyse transactionnelle à ma peinture j’avance l’hypothèse d’un maintien inconscient de l’artiste dans l’« état de crise » par la relation stéréotypée qu’il entretient avec son « héros » artistique. Par la clarification de mes propres origines dans le monde de l’art, je tente d’échapper à cet enfermement stéréotypé que j’éprouve dans l’art actuel, et d’affermir ma foi en mon activité d’artiste et peintreIn the early nineties, my sceno-graphic painting emerged against a background of modern art crisis. Although not claimed at the time, the heritage of Pollock, Klein and Bacon was evident in my painting. Therefore my research attempts to reveal the relation between these three artists and my own work. A comprehensive approach of Pollock, Klein and Bacon’s work that includes historical, critical, humanistic and philosophical perspectives, combined with the application of psycho-analysis to my work, leads me to formulate the assumption that the artist is kept in an unconscious “state of crisis” resulting from a stereotyped relationship with his “artist hero”. Through a profound understanding of my own roots in the art world, I attempt to free myself from the confining stereotype which I perceive in contemporary art and to assert an unrelenting faith in my work as an artiste
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Alvarez, Andrea. "Art Criticism, Scholarly Interpretation, and Curatorial Intent: A Reassessment of the 1998 Jackson Pollock Retrospective at the Museum of Modern Art". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/439.
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In 1998, the Museum of Modern Art held a retrospective exhibition of artworks by Jackson Pollock. Curators Kirk Varnedoe and Pepe Karmel worked in an art historical context that had been significantly shaped by the early critical writings by Clement Greenberg and Harold Rosenberg. The curators’ stated intention for the exhibition installation was to provide “a fresh chance for new generations of artists to come to terms with a legendary figure” and to enable “the broader public to reassess a quintessentially American artist in light of three decades of new scholarship,” without “ hewing to any particular critical dogma.” Despite this curatorial intention, this thesis examines the ways in which the retrospective inscribed Greenberg’s and Rosenberg’s theories, while disregarding subsequent scholarship that did not explicitly inscribe or align with the mid-century criticism in its account of Jackson Pollock.
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Crignon, Cyril. "Le "dripping" de Jackson Pollock et le "zip" de Barnett Newman : les deux pôles de construction du lieu dans la peinture "à l'américaine" : pour une approche philosophique de la question". Paris 1, 2013. http://www.theses.fr/2013PA010521.
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Pour mieux cerner l'optique en laquelle la grande peinture américaine fut élaborée après la Seconde Guerre mondiale , cette étude élargit la focale par l'examen conjoint des œuvres de Barnett Newman et de Jackson Pollock. Sous des aspects contraires, les deux veulent en effet créer chez le spectateur un sens du lieu et lui rendre sensible la constitution de l'espace au lieu de lui en donner des représentations. Rouvrant le débat sur le modernisme entamé par Clément Greenberg, la thèse admet que cette peinture tient sa spécificité de ses réponses à la crise du tableau de chevalet diagnostiquée par le critique, et voit comme elle prend en compte la question de la place du spectateur étudiée par Michael Fried dans la continuité de celui-ci. Elle affirme cela dit la nécessité d'une approche philosophique de la construction picturale du lieu qui soulève des questions touchant à la spatialisation, au passage d'une forme « à priori » de la sensibilité à des formes sensibles, à la position puis à la réforme du sujet dans sa relation avec l'objet. La réflexion part ainsi du kantisme pour en dépasser les cadres stricts, naviguant entre l'idéalisme transcendantal et la phénoménologie. Elle croise les références à Fichte, Husserl et Lévinas avec celles de l'esthétique et de l'histoire de l'art, en prenant soin de les ancrer dans l'analyse d'oeuvres singulières. Elle espère ainsi mieux saisir la façon dont ces œuvres produisent du sens hors des voies de l'iconographie et déterminer les significations historiques qui s'y rattachent. Une définition plus large du modernisme est ici en jeu, ainsi qu'une conception de l'abstraction qui en affirme le socle anthropologique et la fonction cognitive.
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Roy, André. "LE «DRAME HUMAIN» CHEZ POLLOCK ET ROTHKO Authenticité, subjectivité et quête existentielle dans la peinture abstraite américaine du milieu du 20e siècle". Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27846/27846.pdf.
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Leva, Shannon Armstrong. "Jackson Pollock's 1942 paintings depictions of hermaphroditic union /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1195578410.
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Thesis (M.A.)--University of Cincinnati, 2007.Advisor: Kimberly Paice. Title from electronic thesis title page (viewed Feb. 5, 2008). Includes abstract. Keywords: Jackson Pollock; Abstract Expressionism; Figurative Paintings. Includes bibliographical references.
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Riepma, Lindsy. "Mor' better, mor' worse : the effects of marriage on the valuing of art". Honors in the Major Thesis, University of Central Florida, 1998. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/49.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Art History
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Dalirian, Zohreh. "Alienation in Edward Hopper’s and Jackson Pollock’s paintings: A comparison and contrast". Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3301.
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In this thesis I study alienation in Edward Hopper’s and Jackson Pollack’s paintings.
Each of these American painters expressed alienation in his art in a distinctive way. The source
of their alienation is different, too, yet they share some personality traits. While alienation in
Pollock’s paintings is mainly derived from his psychological characteristics, the source of
alienation in Hopper’s paintings is mostly sociological.
The alienation in Hopper’s paintings is the manifestation of man’s new status in the
world, which is defined by Modernity. He is warning about the situation, in which despite the
superficial achievements, man is alone. And, I believe, Pollock is the offspring of that situation.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Program of Liberal Studies
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Barnett, Patricia Jan. "An investigation into painting's transformation and regeneration through post-photographic intervention in the digital archive". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/61909/2/Trish_Barnett_Thesis.pdf.
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This PhD practice-led research inquiry sets out to examine and describe how the fluid interactions between memory and time can be rendered via the remediation of my painting and the construction of a digital image archive. My abstract digital art and handcrafted practice is informed by Deleuze and Guattari’s rhizomics of becoming. I aim to show that the technological mobility of my creative strategies produce new conditions of artistic possibility through the mobile principles of rhizomic interconnection, multiplicity and diversity. Subsequently through the ongoing modification of past painting I map how emergent forms and ideas open up new and incisive engagements with the experience of a ‘continual present’. The deployment of new media and cross media processes in my art also deterritorialises the modernist notion of painting as a static and two dimensional spatial object. Instead, it shows painting in a postmodern field of dynamic and transformative intermediality through digital formats of still and moving images that re-imagines the relationship between memory, time and creative practice.
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af, Malmborg Solith. "Research: ROTHKO : - ett arbete om att lära känna sig själv genom någon annan". Thesis, Linköpings universitet, Malmstens Linköpings universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-146095.
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This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko. Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design. The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter.Detta är ett undersökande arbete som vänder sig både inåt och utåt. Det är en djupdykning i Mark Rothkos konstnärskap som sker parallellt med en personlig reflektion. Inledningsvis handlar det om att arbeta i gränslandet mellan konst och design och hurdet kan se ut. I förlängningen handlar det om hur den konstnärliga historien kan fungera som inspiratör och vägledare för innebörd och uttryck i formgivningen. Genom att studera den abstrakta expressionismen och Mark Rothko söker jag svar på hur känslomässig kommunikation kan ske genom färg och form. Förutom litterär research utför jag också en praktiskt undersökning där jag använder måleriet som en metod för att förstå mitt studieobjekt; Mark Rothko. Målet är att översätta Mark Rothkos konst till min design. Det handlar om att studera, internalisera och applicera. Resultatet bjuder in till en diskussion om handlagets, färgens och intentionens betydelse för formgivningen, där jag hävdar att dessa aspekter är viktiga för ett emotionellt berörande resultat, men att kommunikationen förblir individuell.
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Coetzee, Michelle. "The artist as a visionary : a consideration of Jackson Pollock, Joseph Beuys and Jackson Hlungwani as visionary artists". Thesis, 1996. http://hdl.handle.net/10413/5984.
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This study is a consideration of the notion of the artist as a visionary. This perception of the artist is explored in relation to the work and ideas of three twentieth century artists; the American painter Jackson Pollock (1912-1952), the German artist Joseph Beuys (1921-1983) and the South African artist Jackson Hlungwani (1918 -). The work and ideas of these artists is discussed primarily in terms of the similarities and differences between their art and ideas and those encountered in traditional shamanism and the visionary aspects of Romantic and Gothic art and culture as represented by the work and ideas of eighteenth century English poet and painter William Blake (1757-1827). Each of the twentieth century artists who are considered represents a different strain of the idea of the artist as a visionary. Pollock is discussed in terms of his implicit identification with the artist-shaman. This identification is revealed by the influence Jung's writings and Native American (Indian) art and culture had on his work. Beuys is considered in relation to his explicit adoption of a shaman-like persona. Hlungwani is a practising healer in a traditional community whose art explores an apocalyptic vision of redemption. The comparisons between the artists under investigation and the visionary aspects of traditional shamanism and Gothic and Romantic culture entail an analysis of pictorial elements, subject matter and content in the work of these artists. The intention was to explore those properties in the work and ideas of these artists which correspond to the notion of the artist as a visionary.Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1996.
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Sedivi, Amy Elizabeth. "Unveiling the unconscious : the influence of Jungian psychology on Jackson Pollock and Marth Rothko /". 2009. http://hdl.handle.net/10288/1205.
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Edwards, Katie Robinson. "Jackson Pollock in the cultural context of America, 1943-1956: class, "mess," and unamerican activities". Thesis, 2006. http://hdl.handle.net/2152/2527.
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Kiparski, Edith von [Verfasser]. "Symbol, Mythos und das Dämonische im Werk von Jackson Pollock : unter besonderer Berücksichtigung der Rezeption indianischer Kunst und Kultur / [Edith von Kiparski]". 2003. http://d-nb.info/967506603/34.
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Almeida, Marta Filipa Marques de 1978. "Corpo do conflito". Master's thesis, 2012. http://hdl.handle.net/10451/6618.
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Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2012From the Conflicted Body - is a practice oriented research thesis on painting that explores the conflict both inside and conveyed by the body. This practice oriented research covers the worlds of Art and Drugs on their intersections. This research establishes links between drug abuse and their personal effects. Such dialogues are often found as a focus for artistic expressions. The written part of this thesis focuses on the review of previous literature on drugs and their relation to artists. This is a group with specific characteristics in terms of use, abuse and addiction to drugs and alcohol. This part intends to single out some the main issues on creative processes under that kind of circumstances. These questions then are dug deeply by revisiting some key examples: such painters like Jackson Pollock and Frida Kahlo, relating their art work with the conflicts in their lives. In the practice part of the thesis, concepts as ‗outside world‘ and ‗inner world‘, ‗conflicts‘, ‗wounds‘, ‗mirror‘ and ‗self-portrait‘ are used metaphorically, in a pictorial record. This is used as a skin, as a body, where these issues are recorded through painting materials trying that ‗the eyes can touch and the ands can see‘. It is a quest for understanding the ability of the physical and mental duality to support conflicts. A search for what might well be on its roots. It‘s an attempt to understand what happens when the body structures are not enough to pacify such ‗noisy‘ conflicts
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Costello, Eileen Elizabeth. "Beyond the easel : the dissolution of abstract expressionist painting into the realm of architecture". 2010. http://hdl.handle.net/2152/19840.
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A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework.text
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Cheng, Huei-Hua y 鄭慧華. "Jackson Polllock''s Painting: Style and Meaning". Thesis, 1996. http://ndltd.ncl.edu.tw/handle/35455498433725897380.
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Gantes, Manuel. "Desenho nos séculos XX e XXI:imagem, espaço e tempo". Doctoral thesis, 2013. http://hdl.handle.net/10451/8949.
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Tese de doutoramento, Belas-Artes (Desenho), Universidade de Lisboa, Faculdade de Belas-Artes, 2013Esta tese teórico-prática debruça-se sobre transformações ocorridas no campo do desenho ao longo do século XX e início do XXI, com importantes implicações para o presente desta área central da prática artística. Desde a prática bidimensional do desenho até à conquista efectiva do espaço e do tempo, estudam-se obras que se entendem como paradigmáticas nesse percurso. Num primeiro momento a tese incide sobre aspectos das obras de Pablo Picasso, Alberto Giacometti e Pierre Bonnard, que contribuíram para renovar e manter a prática bidimensional do desenho; posteriormente são centrais as contribuições de Jackson Pollock, Franz Kline e Barnett Newman para a ampliação do âmbito do desenho. Além da representação, em direcção ao espaço e ao tempo mais vastos; as obras paradigmáticas de Robert Smithson e de James Turrell, respectivamente “Spiral Jetty” e “Roden Crater”, são reveladoras da conquista efectiva para o desenho de espaço e de tempo, entendidas estas variáveis num sentido concreto. Sem esquecer a diversidade de processos do desenho, a parte prática insiste na pertinência da manutenção da bidimensionalidade dentro do campo expandido do desenho.
This teoretical and practical thesis is concerned with the transformations wich took place in the field of drawing during the past XX century and the beginning of the current century. Relating to these transformations paradigmatic works of art are studied, starting with bidimensionality towards the conquest of time and space. Important to the renovation of image in drawing, examples of the oeuvre of Pablo Picasso, Alberto Giacometti and Pierre Bonnard are considered. The works of Jackson Pollock, Franz Kline and Barnett Newman are central to the expansion of the field of drawing away from the figure towards space and time. “Spiral Jetty” and “Roden Crater”, seminal works from Robert Smithson and James Turrell, reveal true space and time as part of the new elements of drawing. Without forgetting the huge diversity of existing drawing practices, the practical side of the thesis insists on the relevance of maintaining a focus on image-making through drawing.
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Mücková, Kristýna. "Organická kompozice v abstraktním malířství, literatuře a hudbě 20. století". Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-296693.
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The Diploma thesis Organic composition in 20th century abstract Art, Music and Literature aims to explain the gradual process of liberalization of expressive means in Arts, Music and Literature during the 20th century. It describes the picture's emancipation from the dependence on objective reality, particularly V. Kandinsky's way towards abstract expressionism. In Music it traces A. Schonberg's development of the free atonality, and the stream of consciousness technique of J. Joyce in literature. The thesis' second part will be dealing with various manifestations of the organic composition after WWII- action and informal painting in the USA and Europe with its qualitative change. A musical and literal paralel to the principal of organic order will also be briefly introduced on the example of E. Brown's and J. Cage's aleatoric music and the spontaneous writing of J. Kerouac. Selected artistic personalities will be put into socio-cultural context of their time. As a result there comes a complex picture of the organic composition development process, suitable to be used as a source of information for teachers. The didactical part of the thesis will be focused on the possibility of using the given topic in the educational environment.