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Tesis sobre el tema "Painting, Abstract"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de agosto de 2024

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1

Varallo, Patrick Americo. "Abstract symbolic relationships /." Online version of thesis, 1993. http://hdl.handle.net/1850/11758.

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2

Boutote, Mary L. "A question of borders /." Online version of thesis, 1992. http://hdl.handle.net/1850/11147.

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3

Budrytė, Kristina. "Lithuanian Abstract painting in Soviet period." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090312_110650-92526.

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The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s). In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art
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4

Stubbs, Michael. "Digital embodiment in contemporary abstract painting." Thesis, Goldsmiths College (University of London), 2003. http://research.gold.ac.uk/175/.

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This thesis re-investigates Clement Greenberg’s discredited abstract expressionist claim that painting should seek its own purity through the acknowledgment of its material. I argue that Greenberg’s physical, bodily determination of painting (but not its purity) is re-located as a criticality in contemporary practice because of the changes brought about by the simulacrum and the digital. By utilizing the particularities of ‘painterly’ issues such as materiality, depth and opticality into the virtual, this claim responds to Arthur C. Danto’s ‘end of history’ theories where he argues that artist
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5

el, Mathus Miguel Mathus. "Tactility and opticality in contemporary abstract painting." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6544/.

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The thesis analyses the construction of surface in contemporary abstract painting and its broader implications, mainly in regard to Clement Greenberg's understanding of modernist painting. It considers how this issue was contended between art critics such as Greenberg and Michael Fried and artists that challenged the formalist account of painting's medium specificity through a wide range of procedures and techniques. I review Thierry de Duve's analysis of Robert Ryman's work in regard to Greenberg's understanding of modernist painting and discuss the ways in which the contest between painting
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6

Lee, Kang-Wook. "Abstract painting and the aesthetics of moderation." Thesis, University of East London, 2015. http://roar.uel.ac.uk/4468/.

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The journey of this research began with exploring the notion of invisible space which cannot be perceived by the human eye, and the process of image visualisation expressed through my abstract paintings, which is supported by my theoretical research. ‘Invisible Space’, the title of one of my recent paintings, evokes the notion of a very small space such as a cell or nerve tissues which form part of the human body and have the potential to simultaneously symbolise a cosmological space. In my practice, I adopt painting as a pertinent method to realise my subjects and motifs. I consider how my pa
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7

McDonald, Adrian. "Painting Geometry: an abstract language in concrete form." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9913.

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My thesis is that geometry is an abstract and universal language that can reflect the inner being of the world in concrete form. I propose that the ideal forms of geometry, like those of harmony in music, have an aesthetic and metaphysical dimension that is capable of touching the most essential part of our being in the world. In this context, I suggest that painting geometry may be understood as an art practice that is closely aligned with the ideals of philosophical reflection, and how, as a consequence of this understanding, my approach to painting geometry is directed towards the realisati
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8

Daws, Joseph H. "Abstraction : on ambiguity and semiosis in abstract painting." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/67445/1/Joseph_Daws_Thesis.pdf.

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Drawing on the fields of philosophy, phenomenology, art history and theory as well as the candidate's own painting practice, this PhD explores the nature of ambiguity and semiosis in contemporary abstract painting. The thesis demonstrates how the aesthetic qualities of pause and rupture, transition and slippage work emergently to break established clichés, habits and intentions in the experiencing of abstract painting and artistic practice.
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9

Geer, Andrea. "The non-representational language /." Online version of thesis, 1990. http://hdl.handle.net/1850/11309.

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10

Ah, Kuoi Michelle. "Jekyll and Hyde approach to painting: the antagonistic strategy in contemporary abstract painting." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12009.

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This paper examines my paintings in conjunction with three painters; Albert Oehlan, Charline von Heyl and Christopher Wool. These painters utilise a combination of visual languages and adopt an antagonistic or contradictory painting strategy indebted to Willem de Kooning, the Dutch American Abstract Expressionist. The discussion involves how these artists have manoeuvred their own positions in painting and how they have created their own painting lexicon against the paradigm of the cyclical viability of Contemporary painting. The emphasis is on each artist’s avoidance of binary opposites; whet
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11

Smith, Catherine Dicesare. "Synergistic qualities of form and space /." Online version of thesis, 1996. http://hdl.handle.net/1850/11927.

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12

Scott, Rachel Maureen. "ROMANCE PAINTING: l ' avant garde ne se rend pas." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/17794.

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What is the framework for discussing abstract painting in 2017? Is it modernism; art history; conceptual art; contemporary art; national or regional boundaries? All of these or none of them? What would happen if all those frameworks were questioned concurrently? How could such an enquiry be navigated through the terrain of the twentieth century and beyond? By taking a selection of paintings by Francis Picabia, Marcel Duchamp, Piet Mondrian, Jacob Bendien, Sophie Taeuber-Arp, Kazimir Malevich, John Power, Hans Hartung, Asger Jørn, Karel Appel, Olle Bærtling, Maria Helena Vieira da Silva, Gene
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13

Maghrabi, Hesham A. "Application of traditional abstract painting in new media environments." Thesis, Coventry University, 2007. http://curve.coventry.ac.uk/open/items/975cb65c-9570-d5dc-6649-f793b886d6cb/1.

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This thesis presents an investigation into the process of new forms of installation art; an exploration of the shifting of artistic activities from conventional studios and fine artist practices to installation art practices. A combined approach was taken whilst undertaking research by studying literature within the field, engaging with other practicing artists and conducting practical analysis. There is also a discussion of new technology in the field of abstract expressionist painting and a dialogue on the differences between traditional and digital abstract painting with regard to their pro
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14

Hemingway, Bernard Anthony. "Intuition and certitude : abstract painting considered as a language." Thesis, University of Kent, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385090.

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15

Millward, William. "Abstract painting the development and analysis of innovative processes." Saarbrücken VDM Verlag Dr. Müller, 2003. http://d-nb.info/990055116/04.

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16

Barbe, Majella. "Songs of silence: painting, phenomenology, aesthetics." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10207.

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The aim of my research is to explore the aesthetic potentialities of gestural painting and reductive spatiality in two dimensional and three dimensional forms. I have conducted an investigation into aesthetic experience through the phenomenological framework of the French philosopher, Merleau-Ponty and the foundational thinking of American theorist, Ellen Dissanayake in relation to art. I have addressed gesture and materiality as both a communicative tool and an aesthetic strategy. The work of Katharina Grosse (b. 1961), Fabienne Verdier (b.1962) and Anish Kapoor (b.1954) is investigated, espe
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17

Evans, Michael. "Contemporary abstract painting and spiritual experience : an investigation through practice." Thesis, London Metropolitan University, 2013. http://nectar.northampton.ac.uk/5048/.

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This investigation reaches beyond one single discipline or mode of discourse, exploring current possibilities for contemporary abstract painting and spiritual experience. Types of experience associated with previous 'spiritual' abstract painting are explored in view of the need for new languages for abstraction and spirituality in both word and image. This is developed alongside. the recognition of the importance of engagement with the contemporary world for abstract painting (in this case via technology). The investigation is given a theoretical critical context through reference to and analy
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18

Bennett, Jane Andrea. "Revisioning boundaries : feminist theory and the space of abstract painting." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433944.

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19

King, Gillian. "Becoming Animal." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35269.

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20

Wallestad, Kate. "Growing Cycles." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3330.

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In my paintings and prints, I create to understand my experiences. I make layered, repetitive marks and gestures that consist of spherical masses, orbits, and cellular forms. The shapes represent aspects of reproduction and symbolize my thoughts and ideas about procreation. In making pieces, I employ a mathematical system that describes growth patterns found in nature. I use this system as a way of echoing natural structures, as well as a way of focusing my attention. I create multiple small pieces and present them in large, gridded formats. These pieces are abstracted narratives of my
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21

Engström, Alexander. "Inger Ekdahl : Swedish Abstract Expressionism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182385.

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Inger Ekdahl was a female painter at the center of Swedish Abstract Expressionism in the fifties. This essay investigates how her art was received in Stockholm and Paris. We conclude that although her type of art dominated the avant-garde in Paris during the late fifties, she was too early for the Swedish avant-garde and did not amass enough support to transform it. The analysis used Actor-Network Theory following Latour.
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22

Taylor, Caleb Josiah. "Covered." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/taylor/TaylorC0508.pdf.

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My investigation of painting has led to creating abstractions that refer to internal and external anatomical forms. Microscopic images initiated a dialogue that guided each paintings reference to the body. Evolving from a figurative background, my work has sequentially advanced through the construction of a personal visual language which changed from a perceptual investigation to an intuitive, visceral analysis. This progression allowed a thorough study of abstract elements and their formal potential.
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23

Miettinen-Harris, Maija Helena. "Contextualizing Epiphanies and Theories on a Surface of a Painting." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436836349.

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24

Degroot, Simon Cornelius. "Familiar beyond Recognition: Translation in Contemporary Abstraction." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/368013.

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This research contributes to discourse on abstract art in relation to a contemporary context of image sharing and exchange. Many contemporary artists working with abstraction use visual elements from art history, popular culture, product design, the computer desktop and architecture in their work. The once unrecognisable non- figurative forms of Modernist abstraction have now become recognisable objects and forms in contemporary abstraction. Artists such as Charline von Heyl, Christine Streuli, Natalya Hughes, Peter Atkins, and Ryan Gander make visual reference to pre- existing forms in their
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25

Bachtel, April. "Innate Materiality." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304282952.

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26

Wilson, Andrew George. "Between tradition and modernity : Patrick Heron and British abstract painting, 1945-1965." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.715968.

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27

Loveday, Thomas. "The Darkened Room: Painting as the Image of Thought." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1103.

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This thesis is an interdisciplinary explanation of correspondences between painting and philosophy. It does not offer, as could be assumed, a critique of philosophical concepts or an instrumental description of painting. Instead, it shows how concepts from philosophy can be used to see painting in new ways, particularly abstract painting. The philosophy discussed here is limited to continental or speculative philosophy, mainly, but not exclusively, the philosophy of Gilles Deleuze and Félix Guattari. The work of philosopher Richard Rorty also plays a part because he presents a clear descripti
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28

Loveday, Thomas. "The Darkened Room: Painting as the Image of Thought." Sydney Collage of the Arts, 2006. http://hdl.handle.net/2123/1103.

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PhD<br>This thesis is an interdisciplinary explanation of correspondences between painting and philosophy. It does not offer, as could be assumed, a critique of philosophical concepts or an instrumental description of painting. Instead, it shows how concepts from philosophy can be used to see painting in new ways, particularly abstract painting. The philosophy discussed here is limited to continental or speculative philosophy, mainly, but not exclusively, the philosophy of Gilles Deleuze and Félix Guattari. The work of philosopher Richard Rorty also plays a part because he presents a clear des
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29

Wang, Hui Ping. "The British response to abstract expressionism of the USA c. 1950-1963." Thesis, University of Newcastle Upon Tyne, 1996. http://hdl.handle.net/10443/461.

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Abstract Expressionism was arguably the most important art movement after the Second World War and it has in many ways influenced all subsequent art movements in the West. This thesis investigates the presence of Abstract Expressionism in Britain and responses to it in the 1950s and early 1960s. Abstract Expressionism was presented to the British public through literature and exhibitions by individual Americans and by American institutions after 1947, but it was not until 1956 that Abstract Expressionist paintings became accessible in any quantity. While it was denounced by many, it won sympat
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30

Alvarez, Leticia. "The Influence of the Mexican Muralists in the United States. From the New Deal to the Abstract Expressionism." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32407.

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This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals. This thesis will explore the influenc
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31

Ye, Guo Shin. "Appropriation and hybridity of Taiwanese literati painting and American abstract expressionism (1949-2007)." Thesis, London Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536723.

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For centuries, traditional Literati painting has been unchallenged and has not undergone any real or radical change. The Taiwanese Modem Ink-wash Painting that emerged in the 1950s is an extension of this painterly tradition. This new visual form of modern Ink-wash painting that I am presenting, is a hybrid, combining both Chinese Ink-wash painting and American Abstract Expressionism, and represents a different and I hope more progressive artistic style in comparison to the restricted conventions of Literati painting. My thesis seeks to evaluate the mutual appropriation of the stylistic and id
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32

Graves, Andrew. "A user's guide for painters and cyclists : very abstract painting and serious cycling." Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/21175/.

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This practice led research investigates the relationship between cycling and abstract painting. It is a written commentary presented alongside my artwork that gives voice to my studio practice. The history of abstraction and cycling are explored to discuss the myths and nuances of painterly practice, cycling and the studio. The text is an assemblage or collage, put together to represent the modality of interests in the studio and an exploration of key motivations that have driven my practice during this research. There are chronological and parallel developments in the history of Modernist pai
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33

Khatir, Linda. "The vital space of painting : changing perceptual and material conditions of space, place and viewer in contemporary European abstract painting." Thesis, Bath Spa University, 2009. http://researchspace.bathspa.ac.uk/1478/.

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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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35

Draguet, Michel. "Genèse et naissance de l'abstraction de Kandinsky à Malevitch: essai de définition de la notion de Permière abstraction, 1911-1918." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213179.

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36

Ellis, Hele. "Decentering the subjective: The transcendent experience of formlessness in an abstract expressionist painting practice." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107658/1/Hele_Ellis_Thesis.pdf.

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This practice-led research project is based on the experimental strategy of Formlessness within painting, a negation of representation within the compositions, which potentially act as a pathway to sensory immersion and without a subject-matter to an awareness of Self. The colour palette chosen for the colour fields introduces chromatic couplings that are specifically hung for maximum charge. The colours present as taking on their own lives, explaining the compelling force behind these works that lead to a pure sensation. Key tenets of Anthroposophy - with particular concern towards Steiner's
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37

Sipes, Kelly Suzanne. "Dot matrices." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5501.

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Thesis (M.F.A.)--West Virginia University, 2007.<br>Title from document title page. Document formatted into pages; contains iv, 49 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 30).
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38

Pasek, Jeffrey Douglas. "Worry My Head: An Exploration of Head-Like Forms as an Expression of Existential Concerns." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1385383454.

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39

Leake, Lauren. "Forced Kinship." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3226.

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My oil paintings, glass works, and mixed media are abstract meditations on familial relationships and their boundaries. The interaction between colors and layers of pigment reference human interaction. I apply veils of colors, which obscure, alter, or blend into previous layers of color. These layers metaphorically reference how family relationships affect the person we are and influence who we become. I approach my oil paintings serially and often refer to them as sisters or a family. I often work on two or more canvases at a time allowing each painting to share palettes and a similar lan
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40

Montenegro, Jennifer. "Wild: Paintings Intertwining Body and Mind." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/413.

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I believe creativity can be a direct link to the soul, a space to have a conversation with the divine and I seek to explore this idea in my art. I also want to invite the observer to move through my work and explore the space contained within their own emotions and sensibilities, beyond boundaries, allowing the work to linger and sink in. Translating these ideas into the form of my works, following my intuition intelligently, involves an intensive process of many layers of paint and textures combined with thread. My work involves the intersections of spirituality and art making through the exp
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41

Salehi, Farina. "East Meets West: Exploring connections between abstract modernist painting and nomadic textile traditions to reflect on diaspora identity." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18490.

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My research project explores connections between Iranian textile designs and western abstract painting. Based on the diaspora experience of my own life it investigates how the influence of two different creative traditions combined to produce new forms of culturally hybrid art. The research examines modernist abstract painting and nomadic weaving traditions and considers specific aesthetic issues that are common to both despite their separation in time and place. It uses this idea and observations to create work that speaks about how art can be a space in which culture can be positively combin
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42

Rampin, Dantas Neves. "A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284696.

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Orientador: Denise Hortencia Lopes Garcia<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T15:11:52Z (GMT). No. of bitstreams: 1 Rampin_DantasNeves_M.pdf: 9209358 bytes, checksum: 374af3500d1f2a9923260762214a4c2a (MD5) Previous issue date: 2008<br>Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou conce
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43

Dean, H. A. Mark. "Illustrating Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1480.

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44

Lee, Alice Hui Fang. "The spirit of Chinese brush lines and its application to creativity in UK art and design education." Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319231.

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45

Kisicki, Katherine Ann. "THE BIRD." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1778.

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I have always approached my paintings with confidence. Mark making has always been my strength, particularly in drawing, and I feel this comes through in my gestural use of the paint. I also believe I approach paintings in a trial and error manner, where experimentation has precedence over concept. To remain in the moment and focused on what I am doing at that moment is a fundamental base of both my process and, interestingly what the resulting image translates to the viewer. To know this, and to remain suspended in this moment requires a foundation of trust within my capabilities and myself.
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46

Scully, Regina S. "Landscape to Mindscape." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2109.

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In each of my paintings I try to create an individual micro-universe made up of elements that resonate between the familiar and the unknown. I carve up space and hybridize disparate elements, in an effort to excavate objects and spaces from our collective unconscious. By employing different perspectives, I try to encourage an experiential view of the landscape, like the one that exists for the viewer in the physical world, where sightlines are constantly shifting. These landscapes become a rhythmic labyrinth to enter and travel through, wherein the viewer experiences his or her own personal as
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47

Pope, Bettye. "Rhythms Of Times And Places." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2658.

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Artist Statement I am inspired by living in multiple environments and experiencing many regions of the United States. My imagery varies from references to landscapes to geometric abstractions of quilt patterns. My media consists of acrylics, oils, and pastels on supports including fabric, canvas, or paper. Mixed media allows me to add multiple layers in creating visual textures, depth, and energy to draw in my viewers. The media is glazed, flowed, dripped, sprayed, rolled, scraped, and scrubbed into my interpretations of natural elements and geometric patterns. My landscape paintings are o
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48

Halkias, Maria. "Les yeux de la mémoire : the paintings of Maria Helena Vieira da Silva 1930-1946." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/835.

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Burton, Calvin. "Painting as Becoming: Reflections Between Content and Form." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/48.

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Painting As Becoming: Reflections Between Content and FormThis thesis is the culmination of my two years at graduate school. It lays out some of my ideas about painting as a particular approach to art making. The development of my work has not always followed a linear path – some ideas take longer to emerge, some vices longer to recognize. The text is separated into four main sections: Form, Development, Color, and Landscape. The main issue that I explore is the relationship between abstraction and representation. Tending to be over-logical, I have avoided explicit ‘content' in my work, b
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50

Crnjak, Dragana. "LandEscape." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/802.

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Shape, color and line are three basic elements I use to explore the possibilities of visual language. The process in itself is important since what is left on the paper are simply records of moments from which a work is constructed. These moments are mixtures of my memory, my everyday observation, my struggles and hopes. The starting point is always in between known and unknown, and it is always a new attempt for clarity. Rather than expressing what I already understand and know, I have a need to change my working methods quite often in order to expand my own limits. Since I moved from Serbia
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