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Tesis sobre el tema "Modern Paintings"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 17 de febrero de 2022

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1

Domingues, Joana Andreia Lameiras. "Spectroscopy studies on conservation issues in modern and contemporary paintings". Master's thesis, Faculdade de Ciências e Tecnologia, 2010. http://hdl.handle.net/10362/4480.

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Dissertation presented to the Faculty of Sciences and Technology of New University of Lisbon in fulfilment of the requirements for the Master’s degree in Conservation and Restoration Specialization in easel painting
Modern and contemporary paintings are one of today’s grand challenges in conservation of cultural heritage. Particularly, these paintings have often been retouched using materials rather similar to originals, thus, compromising the reversibility of the overpainting. In this work, FTIR and Raman spectroscopies, assisted by optical microscopy, were used to evaluate the effectiveness and harmfulness of chemical and laser cleaning methods for the removal of overpaints. Representative mock-ups prepared with commercial paint formulations were used. The laser cleaning experiment was part of an interdisciplinary study which aims the evaluation of method’s limitations by using the most aggressive cleaning parameters. The combined use of FTIR and Raman spectroscopies could identify constituent materials of modern paints, controlling their behaviour under cleaning, while optical microscopy allowed the evaluation on surface morphology. In addition, equivalent portable equipments from MOLAB were covered as a preparation for in situ analysis. Several problems in the selective removal of overpaints were found with chemical cleaning. The laser cleaning showed better efficiency in removing them, although, some alterations occurred upon laser irradiation, for instance, binder degradation with carbon formation and titanium white alteration. The proposed spectroscopic protocol was considered useful for controlling different cleaning methods in modern and contemporary paintings.

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2

Doughty, Elizabeth Lynn 1984. "Modern Individualism: Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958". Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.

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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other.
Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek

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3

楊玉玲 y Yuk-ling Cecilia Yeung. "Xu Beihong [1895-1953] and Western influence: a study of his large-scale history paintings". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213856.

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4

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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5

Yeung, Yuk-ling Cecilia. "Xu Beihong [1895-1953] and Western influence : a study of his large-scale history paintings /". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19668375.

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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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7

Cosgrove, Mary. "Paul Henry and Irish modernism". Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.

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8

Archer, Carol. "Frames, flows, feminist aesthetics paintings by Judy Watson, Cai Jin and Marlene Dumas /". Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B3690787X.

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9

Rhodes, James W. Jr. "An Analysis of Visual and Verbal Appropriates in Mark Tansey's Philosophers Paintings". VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/37.

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Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.

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10

Shulman, Katharine. "Paintings in Transit: A New Means For Protection of Collections, Balancing Traditional and Modern Conservation Philosophies and Methods". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/697.

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This thesis examines the motives behind museum loan and exchange policies and how loans can act as a new avenue for protecting and preserving paintings. When borrowed artworks are transported from one museum to another, there are many variables that come into play and careful planning is necessary for the safety of the object. Specific case studies of several well-known and respected museums that engage in and encourage loans will explore the complex nature of lending policies, their effect on the condition of artworks and their significance and impact on the museum world. This thesis culminates in an analysis of the loan fitness and possibility for transport of Joachim Beich’s Untitled, a painting in the Scripps College collection.

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11

Cavallo, Bradley. "MATTER(S) OF IMMORTALITY: OIL PAINTINGS ON STONE AND METAL IN THE SIXTEENTH AND SEVENTEENTH CENTURIES". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/456452.

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Art History
Ph.D.
By the second decade of the twenty-first century, the preponderance of scholarship examining oil paintings made on stone slabs or metal sheets in Western Europe during the early modern period (fifteenth–eighteenth centuries) had settled on an interpretation of these artworks as artifacts of an elite taste that sought objects for inclusion in private collections of whatever was rare, curious, exquisite, or ingenious. In a cabinet of curiosities, naturalia formed by nature and artificialia made by man all complemented each other as demonstrations of marvelous things (mirabilia). Certainly small-scale paintings on stone or metal exhibited amidst these kinds of rarities aided in aggrandizing a noble or bourgeois collector’s social prestige. As well, they might have derived their interest as collectables because of the painter’s fame or increased capacity for miniaturization on copper plates, or because the painter left a slab of lapis lazuli, for example, partially uncovered to reveal its visually arresting stratigraphy or coloration. Nonetheless, while the lithic and metallic supports might have added value to the oil paintings it was not thought to add meaning. A totalizing theory about this type of artwork, based on a perception of them as if they had only served as conspicuous consumables, therefore overlooks that in other circumstances the stone and metal supports did contribute to the iconographic substance of the paintings. As this dissertation will argue, the introduction of metal and stone supports allowed patrons and painters literally to add another layer of meaning to an oil painting’s imagery. These materials mattered not just as passive receptacles of meaning but as active shapers of significance. Evidence for this hypothesis exists in the historical record in at least three identifiable contexts: Leonardo da Vinci’s Portrait of Ginevra de’Benci (ca. 1474–1478) in relation to the epistemological debate known as the Paragone; funerary monuments in Roman churches inclusive of painted portraits in relation to theories about color and lifelikeness; medallion-shaped, chest plates known as Escudos de monjas (Nuns’ Shields) worn by nuns of some religious orders in Colonial Mexico in relation to pre-Hispanic sacral materials. All three of these case studies ultimately concern the paradoxical materialization of the immaterial fame of the painter, the soul of the deceased, and the Christian divine. Observing them in tandem provides an outline of the origins and development of the technique of painting with oils on stone and metal, and consequently broadens our understanding of this wider, early modern phenomenon.
Temple University--Theses

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12

Berger, David S. "Modern Paintings of the Prodigal Son: Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336741954.

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13

Contreras, Maya María Celina. "Preservation of modern easel painting, a multidisciplinary study for the preservation of two of David Alfaro Siqueiros' so-called pyroxyline paintings : Mine Drillers and Portrait of a Dead Girl and Live Girl". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36019.pdf.

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14

Czujack, Corinna. "An economic analysis of price behaviour in the market for paintings and prints". Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212155.

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15

Akard, Carrie Meitzner. "Southern Genre Painting and Illustration from 1830 to 1890". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277611/.

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The purpose of this thesis is to give a concise view of stylistic, iconographical, and iconological trends in Southern genre paintings and illustrations between 1830 and 1890 by native Southern artists and artists who lived at least ten years in the South. Exploration of artworks was accomplished by compiling as many artworks as possible per decade, separating each decade by dominant trends in subject matter, and researching to determine political and/or social implications associated with and affecting each image. Historical documents and the findings of other scholars revealed that many artworks carried political overtones reflecting the dominant thought of the white ruling class during the period while the significance and interpretation of other artworks was achieved by studying dominant personal beliefs and social practices.

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16

Farguson, Julie Anne. "Art, ceremony and the British monarchy, 1689-1714". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:e63509b1-425c-4308-bfc7-d991d46aa693.

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This thesis investigates the ceremonial and artistic strategies of the British monarchy in the years following the Glorious Revolution. By adopting a range of methodologies used in the study of visual culture, the thesis considers royal ceremonies as channels for conveying political messages non-verbally. These could affect attitudes to the monarchy, and inform artistic output. By paying particular attention to the way royal participants performed ceremonially in relation to the various formal and informal architectural settings for the court, the thesis highlights the process of seeing as a communicative act. Being alert to the impact of royal ceremonial and artistic activities on contemporary audiences, the thesis also considers the dissemination of royal imagery in England by commercial means. The thesis surveys paintings, prints and medals produced in England, and places the intended audiences at the centre of the analysis. It also pays keen attention to the impact of war on royal image making, and highlights the political context of continental Europe, especially in relation to William’s role as Stadholder-King but also the exiled Stuart court at St Germain near Paris. The evidence presented here supports a number of conclusions. Firstly, war had a profound impact on all aspects of royal image making. Secondly, royal behaviour and involvement in ceremony were vital elements in the visual presentation of monarchy. Kings and queens were of paramount importance, but their consorts were highly significant. Art was also taken seriously by the monarchy and the Crown tightened controls on royal image making during the period in question. The thesis also concludes that the nationalities of the incumbent monarchs and their consorts, along with their previous experiences and personalities, influenced their individual approach to visual representation. These approaches could shift depending on political circumstances and the personal inclinations of the person concerned.

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17

Mathias, Manon Hefin. "'Apprendre à voir' : the quest for insight in George Sand's novels". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2987dce0-0e41-4d32-9da8-35b3c8284703.

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This thesis examines the novels of George Sand (1804-1876) and analyses representative examples from her entire œuvre. Its overall aim is to re-evaluate Sand’s standing as a writer of intellectual interest and importance by demonstrating that she is engaging with a cultural and intellectual phenomenon of particular relevance to the nineteenth century: the link between different ways of seeing and knowledge or understanding, which I term ‘insight’. The visual dimension of Sand’s novels has so far been overlooked or reduced to a rose-tinted view of the world, and my study is the first to examine vision in her work. I argue that Sand demonstrates a continuous commitment to ways of engaging with the world in visual terms, incorporating conceptual seeing, prophetic vision, as well as physical eyesight. Contesting the prevailing critical view of Sand’s œuvre as one which declines into blandness and irrelevance after the 1850s, this thesis uncovers a model of expansion in her writing, as she moves from her focus on the personal in her early novels, privileging internal vision, to wider social concerns in her middle period in which she aims to reconfigure reality, to her final period in which she advocates the physical observation of the natural world. Rejecting the perception of Sand as a writer of sentiment at the expense of thought, this study argues that her writing constitutes a continuous quest for understanding, both of the physical world and the more abstract, eternal ‘vérité’. I show that Sand transcends binary divisions between science and art, the detail and the whole, the material and the abstract, and that she ultimately promotes a multidisciplinary approach to understanding the world. This also enables me to reassess Sand’s poetics by arguing that her rejection of the mimetic model is founded on her conception of the world as multiple and constantly evolving.

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18

Tycz, Katherine Marie. "Material prayers : the use of text in early modern Italian domestic devotions". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.

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While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.

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19

Rummler, Scott E. "A new image /". Online version of thesis, 1990. http://hdl.handle.net/1850/10941.

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20

Ning, Cui. "Forms and techniques of modern painting". Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002214.

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21

Henry, Anne L. "Animated electronic painting /". Online version of thesis, 1992. http://hdl.handle.net/1850/12240.

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22

Farhad, Massumeh. "Safavid single page painting, 1629-1666". [S.l. : s.n.], 1987. http://catalog.hathitrust.org/api/volumes/oclc/57466264.html.

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23

Arscott, Caroline H. "Modern life subjects in British painting 1840-60". Thesis, University of Leeds, 1987. http://etheses.whiterose.ac.uk/1008/.

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A small number of paintings with modern settings and figures in modern dress can be identified in the exhibitions of the 1840s. During the 1850s such pictures became far more common, particularly in the wake of the success of William Powell Frith's outdoor crowd scene, Ramsgate Sands, exhibited at the Royal Academy of 1854, and distributed as an Art Union engraving in 1859. This thesis locates those modern life scenes in the broader context of mid-nineteenth century genre painting. Examining the critical debates of the 1840s, it is possible to identify anxieties concerning the appeal and value of genre painting, as an aspect of the political and ideological construction of the bourgeoisie. The expansion of the art-buying and art-viewing public generated critical concern over the status and powers of discrimination of middle-class patrons. Genre painting was thought to present a special danger because it offered viewers sensory stimulation, in the form of visual excitement, untempered by the moral and intellectual qualities of high art. Rather than proceding by compiling a catalogue of modern life paintings this thesis examines in depth a number of pictures produced in the 1850s. It considers, as case studies, two pictures exhibited in 1854: Ramsgate Sands by Frith, and The Awakening Conscience by William Holman Hunt. As a third example a picture by William Maw Egley, Omnibus Life In London, is investigated. This was exhibited at the British Institution, and engraved for the Illustrated London News, in 1859. These case studies develop new frameworks for the analysis of Victorianpaintings. Social and political history is not presented as background, but as integral to the construction and deployment of meaning in the pictures. The analysis draws on psychoanalytic writing and on structuralist theory. It argues that the choice of modern subjects posed particular problems for both artists and audiences. Whether the representations were of private morality and immorality, or of public situations where sexual propriety became an issue, there was an engagement by the paintings with questions of sexuality and its regulation. At the same time the viewing of these genre paintings was, in terms of contemporary critical theory, already a sexualised activity. The thesis looks at the interface between sexuality and vision in the pictures. Developments in portraiture are mapped on to changing attitudes to genre subjects in a discussion of the relationship between realism and the narrative qualities of painting in the mid-nineteenth century.

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24

Wong, Sau-mui Alice y 黃秀梅. "Fashioning food in impressionist painting". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46599058.

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This thesis explores the various roles of food in Impressionism by examining paintings of food so as to sort out their relationship with one another and their linkage to modern life in Paris in the 19th century. Food was related to spectacle, class reconfiguration, gender relations, consumerism and capitalism, and leisure, all of which were part of the revolution of modernity in Paris. By analyzing Impressionist images of food production, display and consumption in relation to these modern social and historical developments, the thesis explores the relationship between food and people, meaning the social dimension of food culture. In addition to standard art historical approaches, two research methods are especially important. First is to understand the general historical context of food imagery by examining 19th-century cookbooks, novels and treatises related to food, and popular visual culture including posters, menus, and prints. Second is to identify and analyze particular food motifs by studying recipes, statistics, and dictionaries of food. Five chapters deal with five aspects of food. Chapter one talks about the crystallization of food into spectacle as a result of the conspicuous consumption facilitated by the construction of Les Halles, the central food market. Chapter two examines two different kinds of food production – rural agriculture and urban artisan cuisine – as expressions of two dissimilar attitudes towards labor, linked to competing conceptions of time as continuous and discontinuous. Chapter three raises the issue of sociability, where the pleasure of eating can only be obtained through the engendering of a semi-private space linking private eating to public identity. Chapter four shows how the coalescing of food and women in Impressionism intensifies the pleasures of visually and physically consuming the female body, while paradoxically entrapping male viewers in desire. Whereas these first four chapters emphasize social aspects of food, chapter five shows how food affected the interiority of particular artists, demonstrating the embodiment of psychological traits in Impressionist still lifes of food. Overall, the thesis shows that Impressionist paintings of food actively interpreted and defined modern food culture as a continuous process of spectacularization and systemization, and that they consciously draw parallels between food consumption and visual consumption as similar processes of pleasurable consumption. By revealing that Impressionist food imagery sometimes does not comply with other Impressionist genres in interpreting modernity, the thesis opens new ways of thinking about both food culture and Impressionism.
published_or_final_version
Fine Arts
Master
Master of Philosophy

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25

Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca". Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.

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26

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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27

Hudek, Antony Geoffrey. "Invisible painting : mimetic pictorialism in post-modern New York". Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428492.

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28

Pataki, Eva. "Haitian painting, the naives and the moderns /". Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10730862.

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29

Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945". Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.

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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.

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30

Bungarten, Gisela. "Johann Heinrich Füsslis (1741-1825) "Lectures on Painting" : Das Modell der Antike und die moderne Nachahmung /". Berlin : Gebrüder Mann, 2005. http://catalogue.bnf.fr/ark:/12148/cb40921620z.

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31

Pousada, Pedro Filipe Rodrigues. "Jorge Pinheiro-superação e continuidade na imagem moderna". Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2001. http://dited.bn.pt:80/30135.

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32

Diaper, Hilary. "The English reaction to modern French painting circa 1850-1880". Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238657.

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Ribeiro, Isa?as da Silva. "Murais modernos de Newton Navarro e Dorian Gray". Universidade Federal do Rio Grande do Norte, 2011. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12366.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
This research aims to study wall paitings created by artists Newton Navarro and Dorian Gray, installed in public buildings of modern architecture, in Natal/RN from 1950 to 1970. The subject is seen by focusing on its concepts and characterization, linked to the ideia of integration of the arts and the meaning of modern mural painting in Brasil. The study presents an analyses of those paitings considering themes, techiniques and dimensions, comparing the solutions of local artists with brasilian muralist painters, particularly the work of C?ndido Portinari. Registers of artistic works show a view of the inclusion of arts in modern architecture in the city
Esta pesquisa tem como objetivo estudar a arte parietal produzida pelos artistas potiguares Newton Navarro Bilro e Dorian Gray Caldas, instalada em edif?cios p?blicos de arquitetura moderna, na cidade de Natal, no per?odo dos anos 1950 a 1970. Neste estudo, o tema da pintura mural ? compreendido atrav?s da sua conceitua??o e caracteriza??o, vinculadas ? id?ia de integra??o das artes e ao entendimento do mural moderno no Brasil. O estudo apresenta uma an?lise do mural moderno natalense considerando os temas, t?cnicas e dimens?es, cotejando as solu??es dos artistas locais com a produ??o mural?stica brasileira, em especial a obra mural do artista C?ndido Portinari. Apresenta tamb?m um registro de obras art?sticas delineando um panorama da inser??o da arte na arquitetura moderna na cidade

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34

Aranha, Roberta Heinemann de Souza. "Os arcanos maiores do Tarô e a pintura Simbolista do Séc. XIX = um visão interpretativa da correlação arquétipica". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284920.

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Orientador: Elisabeth Bauch Zimmermann
Dissertação (mestrado) - Universidade Estadual de Campionas, Instituto de Artes
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Resumo: Este trabalho relaciona as imagens dos Arcanos Maiores do Tarô com o contexto imagético das Artes Visuais, em especial, evidencia a correlação entre a pintura da escola Simbolista e o Tarô. Também procura desvelar alguns aspectos arquetípicos encontrados através do diálogo simbólico entre essas duas manifestações criativas e artísticas, o que propicia um olhar subjetivo das transformações históricas do final do Século XIX
Abstract: This study relates the images of the Major Arcana of the Tarot imagery with the context of the Visual Arts, in particular, shows the correlation between the Symbolist school of painting and the Tarot. It also seeks to reveal some archetypal aspects found through symbolic dialogue between these two creative and artistic expressions, which provides a subjective look of the historic transformations of the late nineteenth century
Mestrado
Artes Visuais
Mestre em Artes

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35

Chou, Pei-Yung. "Striking visual contrasts /". Online version of thesis, 1990. http://hdl.handle.net/1850/10961.

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36

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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37

Earles, Bruce. "Images of the urban experience in contemporary painting". View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030416.154550/index.html.

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Thesis (C.A.D.) -- University of Western Sydney, [ 2002].
"This research is submitted as partial fulfillment of the requirements for the degree of Doctor of Creative Art, Contemporary Art " Includes bibliography.

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38

Hall, Denis Michael. "Purchasing power: the New York market for modern American painting 1913-40". Thesis, Northumbria University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589736.

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This study sets out to examine the development of the art market in New York for modem American art between the years 1913 and 1940. In doing so, it aims to make a significant contribution to this relatively neglected subject. Whilst much has been written about artistic production in New York much less has been written about its distribution and consumption, though these form co-dependent elements of an art market. Without a community of art producers neither distributive mechanisms nor an appreciative audience of purchasers can be established; at the same time, continuing art production is reliant on effective ongoing support systems. My overall interest stems from a wish to trace the conditions that enabled New York to take over from Paris as the world's art centre by the middle of the twentieth century. I also wanted to understand the motivations of New York collectors in purchasing modem European and American art and how these changed over time; in other words, how it came to be that taste shifted from the overall preference for European art at the beginning of the period to an enthusiasm for modem American art by the end. In turn I wanted to know how the New York dealer infrastructure to enable this came to be in place by 1940 - the vital component to ensure both the cultural and commercial success of Abstract Expressionism during the forties and fifties. In all of this, a central and sustained interest revolves around the experience of the artist in the art market, in this case the New York art market.

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Schultz, Ruth. "Being of shape : being--The ground through which all things are /". Online version of thesis, 1989. http://hdl.handle.net/1850/11082.

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Purcell, Marisa. "Ancestral spaces time, memory and the liminal experience of painting /". Connect to full text, 2007. http://hdl.handle.net/2123/2763.

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Thesis (M.V.A.)--University of Sydney, 2008.
Title from title screen (viewed 11 September, 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references.

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41

Andrews, Susan Lesley, University of Western Sydney, of Performance Fine Arts and Design Faculty y 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
Master of Arts (Hons)

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42

Marontate, Janet Lee Ann. "Synthetic media and modern painting, a case study in the sociology of innovation". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ26696.pdf.

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Timmer, Cornelis. "Modernism and fragmentation /". View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030908.132615/index.html.

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44

Haworth, Abigail R. "The canvas as her stage Emma Hamilton use of her attitudes in portraiture /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6082.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 19, 2008) Includes bibliographical references.

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45

Murphy, Gavin. "'The Tropes Out Movement?' : an examination of the work of three English artists dealing with the political conflict in Northern Ireland through the medium of paint". Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245807.

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Keep, Rosemary Isabel. "Facing the family : group portraits and the construction of identity within early modern families". Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8463/.

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This thesis draws together material and archival sources to investigate the long-overlooked portraits of English provincial gentry families commissioned between c.1550 and c.1680. Specifically, its focus is on portraits of family groups where more than one generation, connected through blood or kinship, is depicted in the same composition. The thesis identifies these as a coherent genre for the first time and examines the ways in which the gentry used such paintings to establish familial legacy and heritage for future generations. This thesis explains how these portraits respond to, and reflect, family memory and narratives, social networks, local histories, religious observance and artistic developments. They are important because the family, as the basic unit of society, was essential for the formation and transmission of belief and identity, and the place where children were socialised. The portraits simultaneously reflect broad social trends while also containing personal messages about the lives and relationships of individual families which were specific to their own particular place and time. The thesis argues for the significance of visual artworks and especially this genre of painting, in the construction of gentry status and self-fashioning over this key period of social change.

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47

Roche, Linda. "Theatre of painting a structural exploration of the forming of an image through paint : an exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2008 /". Click here to access this resource online, 2008. http://hdl.handle.net/10292/469.

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This studio-based project explores a method of working that assigns agency to paint and process within the medium of painting. Underpinning this exploration is the notion that process driven making could potentially pose as a per formative event. Choreographed yet contingent, the practice investigates the relationship between the potentiality inherent within media and the extent to which this is affected by temporal/ external factors in the determining of outcome. A dialogue between the intentional and the contingent is initiated through a systematic approach that involves manipulation of the constituent elements of paint and the implementation of procedure and protocols as a means to activate conditions of possibility. Central to the research concerns are issues surrounding the ability of media to articulate itself, determine its own temporality and of process and content to operate conterminously. The images produced evidence this investigation as both enquiry and consequence.

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48

Fogagnoli, Conrado Augusto Barbosa. "Guillaume Apollinaire: reflexão artística e elaboração poética". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-20022019-110006/.

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O presente trabalho tem por objetivo tratar de uma parte pouco conhecida da obra de Guillaume Apollinaire: a sua crítica de artes. A partir da análise dos textos que o autor publicou neste domínio, evidencia-se a elaboração de uma série de conceitos que lhe possibilitam pensar a pintura e se posicionar no debate artístico francês dos anos iniciais do século XX. Considerando tais conceitos, mostra-se como estes podem ser relacionados com a reflexão do autor sobre a poesia de sua época e, em particular, com a sua própria. O encontro de suas ideias sobre a pintura e sobre a poesia traduz-se em um projeto estético em sentido amplo que, por isso mesmo, produz efeitos em sua obra poética. Com a finalidade de evidenciá-los, analiso alguns poemas para mostrar como a reflexão artística de Apollinaire importa para a compreensão da obra poética.
The present work aims to deal with the little known part of Guillaume Apollinaires work: his critique of arts. From the analysis of the texts that the author published in this field, it is evident the elaboration of a series of concepts that allow him to think about paintings and position himself in the French artistic debate of the early year of the Twentieth Century. Considering theses artistic concepts, it is shown how they can also be related to the authors views of poetry of his time and, in particular, with his own. From this communication of artistic ideas, it is exposed how it translates into na aesthetic project in the broad sense and that, for this very reason, produces effects in his poetic work. With the purpose of showing this, poems are analysed to express Apollinaires artistic views matters for the understanding of his poetic work.

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49

Zhang, Yimeng. "Chinese drawing, architectural poetics : traditional painting as a semantic representation of modern architectural design". Doctoral thesis, Universitat Politècnica de Catalunya, 2019. http://hdl.handle.net/10803/667320.

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This thesis is partly an attempt to explore the potential of pre-modern Chinese painting, on its distinctive formats and schemes to achieve spatial depth and time duration, as a way to interpret and design architecture. By a survey on changing modes of Chinese traditional landscape and cityscape paintings in different scales, the poetic language of painting will be gradually explored. Beyond pictorial techniques, language is concerned with an ideological level of understanding and experience. Thus, it signposts a wider significance of architectural representation – as a verbal medium to express narrative and critic semantics besides visual effects. In this thesis, we will also see how traditional painting remains a base in the ideating process of several contemporary Chinese architects, so to avoid a mere uncritical imitation of international models. A subtle fusion of contemporaneity with cultural identity afforded by the presence of taken concepts from traditional painting, allows this architecture to increase its meaning and dimension. Lastly, understanding such processes of ideation can possibly provide us assistance in the intuitive formulation of ways to enrich Western architecture. Particularly, establishing poetic connections to our cultural traditions can be a useful strategy to prevent Western architecture's frequent falls into empty excesses of utilitarianism, iconicism or simple banality.
Esta tesis en parte intenta explorar la capacidad de la pintura china pre-moderna en sus peculiares formatos y esquemas para lograr expresar la profundidad del espacio y la duración del tiempo, como una manera de interpretar y diseñar arquitectura contemporánea. Mediante un estudio de la pintura tradicional de temática paisajística y urbana, y a diferentes escalas, se analizará el lenguaje poético de la pintura china. Más allá de las técnicas pictóricas, este lenguaje se sitúa en un nivel ideológico de comprensión y experiencia; expresa, por tanto, una gama de significados más amplia que la mera representación arquitectónica, actúa como lo haría un medio verbal para expresar una semántica de tipo crítico y narrativo, además de los consiguientes efectos visuales. En esta tesis, también veremos cómo la pintura tradicional sigue siendo la base del proceso de creación de ideas de varios arquitectos chinos contemporáneos para evitar así una mera imitación acrítica de modelos internacionales. Una fusión sutil de la contemporaneidad con la identidad cultural proporcionada por la presencia de conceptos de la pintura tradicional permite a esta arquitectura ganar nuevas capas de significado y dimensión. Por último, comprender tales procesos de ideación puede brindarnos ayuda en la formulación intuitiva de formas de enriquecer la arquitectura occidental. En particular, establecer conexiones poéticas con nuestras tradiciones culturales puede ser una estrategia útil para prevenir las frecuentes caídas de la arquitectura occidental en los excesos vacíos del utilitarismo, el iconicismo o la simple banalidad.

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Easterbrook, Carolyn Louise. "American space, American place : Edward Hopper, painting and his personal vision of modern America". Thesis, University of Kent, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410921.

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