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Tesis sobre el tema "Perception of art"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2025

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1

Phillips, Jessica. "The art of perception." This title; PDF viewer required. Home page for entire collection, 2009. http://archives.udmercy.edu:8080/dspace/handle/10429/9.

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2

Hawes, Robin J. "Art and visual perception : what value do contemporary theories of visual perception have for art practice?" Thesis, Cardiff Metropolitan University, 2014. http://hdl.handle.net/10369/6524.

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3

Hillard, Wonda Y. "An Art Educators' Perception of an Art Professional Development Workshop." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6578.

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There are no guidelines in South Carolina for developing workshops that reflect the needs of art educators, and there are no tools to evaluate and support their professional development. The problem is a lack of informative, substantive, and academically oriented art inservices that are standards-based and focused on the enhancement of pedagogy, teaching strategies, and content. The purpose of this case study was to explore participants' perceptions of an art professional development workshop as an approach to examining art standards, instructional strategies, and policy changes. Dewey's exper
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4

Sobieszczanski, Marcin. "Art et perception : essai d'esthétique cognitiviste." Paris 8, 1999. http://www.theses.fr/1999PA082101.

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On propose un cheminement vers une esthétique cognitiviste et une série de quatre études où cette esthétique apparaît comme méthodologie critique et clé de l'interprétation. L'art est perception car son matériau est le monde perçu, sa quête est de rendre présente l'existence de cette perception originale et son résultat est l'objet destiné à être perçu. On pratique une voie médiane entre : 1) le dualisme gnoséologique de Kant (la donation sensible d'objets assumée par l'entendement), confiné par certains aspects de la pensée de Husserl dans le solipsisme de la conscience absolue, 2) l'absoluti
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5

White, Christopher D. "A Perception of Change, A Change of Perception." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3756.

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Change is a constant reminder that permanence is the ultimate illusion. It is through the creation of hyper-realistic, ceramic sculpture that I explore the relationship between nature, humans, and the phenomenon of impermanence. I seek to expose the beauty that often results from decay while, at the same time, making my viewer question their own perception of the world around them. The juxtaposition of natural and man-made features in combination with the skewing of scale, proportion, and material, creates an altered perspective – forcing the viewer to look closer. By combining both human and
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6

Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty, and School of Design. "Paint, painters and primary perception." THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reason
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7

Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.

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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental
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8

Barber, LaMar. "Perception and reception of complexion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1541.

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Sankofa, a proverb from the Akan language of Ghana, is one attribute of Ghanaian culture that lives on in Black America. Sankofa, symbolically depicted as a bird reaching backwards to scoop an egg, translates into English as "reach back and get it." As an autobiographical artist, I continue to "reach back" into black history. I research the biographies and autobiographies of other Black Americans--the stories that chronicle the lives of those who came before me. I research urban cultures and contemporary expressions of identity and courage. Through the creation of installation and performance
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9

Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.

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Thesis (M.Visual Arts) -- La Trobe University, 2006.<br>Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
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10

Landais, David. "La synesthésie, les sens et la quasi-synesthésie en art." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH187.

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La synesthésie est un phénomène dans lequel soit (i) la stimulation d’une modalité sensorielle A déclenche une sensation dans A de même qu’une sensation additionnelle dans A (dans le cas de la synesthésie unimodale, comme la synesthésie graphème/couleur), soit (ii) la stimulation d’une modalité sensorielle B déclenche une sensation dans B et dans une autre modalité sensorielle C (dans le cas d’une synesthésie bimodale, comme l’audition colorée). Dans cette thèse, je me propose demontrer que la synesthésie est un phénomène sui generis quasi-perceptif. À cet effet, je développe une conception sé
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11

Chetboun, Jean-Luc. "La Perception juridique des réseaux du marché de l'art." Amiens, 2001. http://www.theses.fr/2001AMIE0059.

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12

Dempsey, Kaitlin. "Coloring Perception: Spencer Finch and the Art of Seeing." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/193022.

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Art History<br>M.A.<br>Emanating from a large, gaseous star forming the center of the universe - commonly referred to as the sun - light colors the world. Light is a mystifying, transient element, a source of energy and life that has transfixed mankind for centuries. Also seduced by the wonders of light (and color) is contemporary artist, Spencer Finch. He has embarked on a quixotic mission of trying to measure, capture, and replicate the temporal qualities of light and color. His interest lies in capturing the fleetingness of the moments he experiences. To some extent Finch is successful in h
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13

Birkin, Guy. "Aesthetic complexity : practice and perception in art & design." Thesis, Nottingham Trent University, 2010. http://irep.ntu.ac.uk/id/eprint/91/.

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My research investigates the aesthetics of visual complexity in the practice and perception of visual art and design. The aim is to understand visual complexity in terms of the relationship between the objective properties of images and subjective properties of perception. I take a computational and empirical approach to this subject, incorporating methods from information theory, computer graphics, complexity theory and experimental psychology. For testing, I create cellular automata programs to generate stimulus images, and borrow other types of visual material from students and professional
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14

Williams, Louis. "The relationship between the creation and perception of art." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/75873/.

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It is suggested that similar cognitive processes are involved with both the creation and perception of art. However, a lack of research examines this relationship, whether this is just from the perspective of the artist, or in relation to the artist and perceiver of the final product. To do so, we examined the experience of artists and non‐artists investigating initial stages of art‐making by examining relationships between aesthetic and drawing preferences of geometric stimuli (Experiments 1 & 2). To further understand this experience, we allowed artists and non‐artists to be involved in actu
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15

Cornu, John. "Art contextuel et création." Paris 1, 2009. http://www.theses.fr/2009PA010567.

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Cette recherche affirme la notion d'art contextuel du point de vue de l'artiste. Il s'ensuit un premier mouvement sémiologique qui démontre que la notion même de signification ne peut pas se soustraire d'un ensemble contextuel. Le contexte est bien un opérateur à part entière du signe. C'est en partant de l'étude de la perception que nous étayerons cette proposition, et ce de la manière la plus objective possible. La compréhension de l 'oeuvre comme objet ou de l' oeuvre comme ensemble d'une situation devient donc centrale, et oriente cette recherche sur la question des modes ontologiques. Il
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16

Sanzay-Langlais, Julie. "Art et mal-voyance à l'épreuve : un paradoxe fertile." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30014/document.

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Cette thèse met en valeur une correspondance entre le système visuel humain d’un point de vue strictement scientifique et une expression plastique personnelle associant installations et photographies questionnant la mal-voyance. Comment rendre l'art accessible à tous ? Pour répondre à cette question nous avons interrogé les relations entre art et science et montré qu’ils sont tous deux concernés par la perception : l’art, car il développe une approche sensible, la science, car elle s’appuie sur une connaissance approfondie de l’œil et peut en pallier les défaillances. Nous avons étudié la perc
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17

Brewer, Rhett. "Paint, painters and primary perception." Thesis, View thesis, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reason
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18

Biddle, Megan. "Depth Perception." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/68.

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A fingerprint can identify an individual, yet it tells us nothing specific about the person it belongs to. It is almost invisible, yet it can be traced. Hair can be both beautiful and repulsive, depending on its context--It is an element of the body that lingers, amazingly, after decay.I am inspired by my observations of natural occurring phenomena. The impermanence of all things speaks to me in a whisper. I am captivated by the traces and residue of life that lingers and will eventually dissolve. Using glass, paper, wax, and film I make objects and installations that give physical form to som
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19

Geary, James Bernard. "A defence of the study of visual perception in art." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/63885/.

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This thesis examines the use of the science of visual perception in the study of art. I argue that this application of perceptual psychology and physiology has been neglected in recent years, but contend that it is being revived by writers such as John Onians. I apply recent scientific research to demonstrate what can be learned about depiction from the science of perception. The thesis uses the science of perception to argue that there are four main interlinked components in depiction. It argues that each of these components can be better understood by using the science of vision. Chapter 1 e
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20

Міщенко, Ельвіра Віталіївна. "Perception of criticism in the field of art & design." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18254.

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21

Reid, Diana. "Iris Murdoch on the role of Art in Moral Perception." Thesis, Department of Philosophy, 2017. http://hdl.handle.net/2123/18825.

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First lines of the Introduction (as abstract not provided): Throughout her work, Iris Murdoch often touches on the intersection between ethics and aesthetics, in particular focussing on art’s role in moral perception. As a novelist and philosopher, Murdoch asks, “What is a good man like? How can we make ourselves morally better?”1 While she looks to aesthetics to address each of these questions, the literature to date has overwhelmingly focussed on the latter. Murdoch does not limit herself to the question of whether art can make us “morally better”. She also asks how art can help us understan
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22

Williams, Holly. "The cluttered mind and the illusory nature of perception and reality." Thesis, The University of Sydney, 2005. https://hdl.handle.net/2123/28047.

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This paper is conceived of as an overview and a discussion positing that there is inherent uncertainty in the subject, and that installation art can act as a revelatory agent in the viewer’s understanding of this uncertainty. This - the recognition of uncertainty - can be achieved through the inclusion of uncertainty itself as a trope in artwork. The self and subjectivity are open to a myriad of speculation and theory. Informing my discussion are theories of the uncanny, the abject and Buddhist discourse of the misapprehension of self. In this paper, I will focus on the concept of unc
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23

Martin, Brigitte. "Perception et expression d'espaces nouveaux issus du cube." Paris 8, 1993. http://www.theses.fr/1993PA080822.

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Le but de cette these est d'etudier le developpement, au cours du vingtieme siecle, d'une nouvelle forme d'expression tridimensionnelle, la boite d'art. Dans la premiere partie, elle comprend une etude du systeme de figuration classique ayant exerce son hegemonie dans le domaine pictural depuis la renaissance jusqu'au debut de ce siecle. Puis, dans la seconde partie, elle met en lumiere la rupture engendree par les cubistes, et la volonte des artistes contemporains, determines a s'exprimer en dehors de toutes conventions, de ne plus representer l'objet mais de le presenter dans son double rapp
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24

Agyeman, Cynthia A. "Artists' Perception of the Use of Digital Media in Painting." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1443101832.

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25

Jones, Danielle Lynise. "Perception of cuteness and beauty." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002538.

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26

Amhamdi, Larbi. "La perception esthétique dans l'art pictural au Maroc." Paris 1, 2005. http://www.theses.fr/2005PA010600.

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La création picturale au Maroc en puisant son essence dans la tradition et la modernité est aujourd'hui source de questionnements génésiaques et esthétiques importants. Faut-il puiser exclusivement dans la tradition respectueuse des valeurs théologiques, ou au nom de la liberté qu'exige la création, opter pour la transgression? Faut-il opter pour les lois classiques ou les abandonner? Pour quelles techniques opter? Simplicité ou complexité? Quelle importance accorder à la lumière et à la couleur? La perception esthétique susceptible de nous aider à mieux comprendre ces questionnements y est ef
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27

Rod, Françoise. "Une recherche plastique expérimentale, vers une perception élargie." Paris 8, 1993. http://www.theses.fr/1993PA080797.

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Cette these theorique et pratique s'interroge sur la place et la fonction qu'occupent au sein de l'univers, l'etre humain en general et l'artiste en particulier. L'analyse d'oeuvres clefs (realisees entre 1981 - 1992) suggere des reponses. L'attitude perceptive de l'artiste qui est a l'origine de l'oeuvre va definir l'attitude perceptive que le spectateur adoptera envers l'oeuvre. L'evolution de ces deux attitudes est parallele, elle est examinee selon la methode phenomenologique. Au cours de ce travail la perception visuelle de la nature se transforme en une perception corporelle interiorisee
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28

Treichel, Gillian. "Creating form : the presentation and perception of three-dimensional form." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/858.

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This Creative Arts Project is an investigation of form within the ceramic tradition -how three-dimensional forms are created, presented and perceived. It addresses this topic by focusing on how form can be implied without actually creating the form itself. The project consists of an exhibition of selected art-work produced during the investigative process and is supported by this exegesis which documents the investigation. It also explains the theoretical basis for the body of work and the conceptual development of it. Major landmarks in the creative process and the significance of these for t
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29

Granell, Querol Andrea. "The effect of contemporary art perception: Study of younger and older adults' art appreciation in museum experiences." Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/386510.

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La Psicologia de l'Art estudia les experiències estètiques i les preferències dels individus mentre miren l'art. L'objectiu d'aquesta investigació és analitzar l'apreciació de l'art contemporani en joves i gent gran al MFA de Boston. Es van dur a terme anàlisis quantitatives i qualitatives. L’estudi 1 va mostrar que els joves, més que la gent gran, van trobar que les cartel·les i les converses van contribuir a apreciar l'art contemporani, i més en el context del museu que en el del laboratori. L’estudi 2 va mostrar que el context del museu va contribuir a apreciar l’art, també, en els grups de
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30

King, Victoria School of Art History &amp Theory UNSW. "Art of place and displacement: embodied perception and the haptic ground." Awarded by:University of New South Wales. School of Art History and Theory, 2005. http://handle.unsw.edu.au/1959.4/22495.

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This thesis examines the relationship between art and place, and challenges conventional readings of the paintings of the late Aboriginal Anmatyerr elder Emily Kame Kngwarray of Australia and Canadian/American modernist artist Agnes Martin. In the case of Kngwarray, connections between body, ground and canvas are extensively explored through stories told to the author by Emily???s countrywomen at Utopia in the Northern Territory. In the case of Agnes Martin, these relationships are explored through personal interview with the artist in Taos, New Mexico, and by phenomenological readings of her
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31

Marini, Ludovica Orsola Adriana. "Perception and representation in the visual brain and in visual art." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428716.

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32

Lyons, David. "Double vision : a practice-based investigation of art and differential perception." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/5f6b6957-a920-4dd8-a81c-476328cfa784.

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<i>Double Vision: A practice- led investigation of art and differential perception</i> is a series of five interrelated practice-led research studies into artistic expression controlling perceptual experiences between audiences of varying visual acuities. Significant refinements  occurred between the first and second, and second and third studies. The last four studies were conducted with the aim of understanding vision’s influence on perception. <i>Double Vision’s</i> lead methodological approach was artistic practice. Other methods were employed according to the needs of that practice. They
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33

Robinson, Susan Rebecca. "Expression out of expressive physiognomy : physiognomic perception, aesthetic attribution, and art." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/21498.

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This thesis accepts the assumption underlying most theories of expression in art and music in recent decades, that the problem of expression in art is one most adequately handled as a problem of expressive attribution. However, the thesis rejects another assumption these same theories make, that the problem of accounting for descriptions of the form 'the music is sad' forms an isolated study. Instead, the thesis tackles the problem of accounting for expressive qualities attributed to art as part of a wider problem of aesthetic attribution. Chapters One and Two use Fank Sibley's classic distinc
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34

Fagan, Lynn Maxey. "Elementary School Teachers' Perception of Art Integration to Improve Student Learning." ScholarWorks, 2015. https://scholarworks.waldenu.edu/dissertations/1191.

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Teachers are seeking effective teaching strategies to support an array of student learning needs. The arts hold the potential to transform the learning experience for students; however, the use of art integration is limited and unknown to many educators. The purpose of this qualitative case study was to interview and observe 8 elementary school teachers who were identified by the school administration as successfully having integrated art into the curricula, defined by teaching with and through the arts across all content areas. The intent of this study was to explore the participants' percept
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35

Brandse, Simone. "Preconscious perception and persuasion: the physiology of visual art and advertising." Thesis, Boston University, 2002. https://hdl.handle.net/2144/27604.

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36

Horton, George M. "Ersatz." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3267.

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Thesis (M.F.A.)--West Virginia University, 2003.<br>Title from document title page. Document formatted into pages; contains vi, 25 p. : ill. (some col.) Vita. Includes abstract. Includes bibliographical references (p. 22).
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37

Molyneaux, Brian Leigh. "Perception and situation in the analysis of representations." Thesis, University of Southampton, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314941.

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38

Lamontagne, François. "Pour une ontologie du corps /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994.<br>Résumé disponible sur Internet. Diapositives à la fin du v. en pochette. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
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39

Johnston, Jennene, of Western Sydney Hawkesbury University, and Faculty of Social Inquiry. "Subtle exchanges : cultivating relations with duration : eastern, western and esoteric approaches to contemplating art practice." THESIS_FSI_XXX_Johnston_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/419.

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This thesis aims to consider the potential for perception of the subtle exchanges of viewers and artwork; subject and object. This necessitates an examination of ontologies, concepts of the body, perceptive schemas and modes of consciousness that ultimately destabilise the assumed solidity and individuality of subject and object. Exchanges of subtle effects are continually taking place between viewer and object, and the space between subject and object is alive with interaction. Process philosophy is introduced as the basic ontological perspective underlying this reflection of subject-object r
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40

Cunniffe, Paula Marie. "Locating interiority text, image, identity, and the domestic : an exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art & Design), 2007." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1364/.

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41

Powell, Amy L. "Erica and I: A Photographic Battle with Perception." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1285059415.

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42

Schlagbauer, Marlene, and Lutz Leonard Schuppener. "The Art of Leadership : A contemporary perception of leadership in postmodern societies." Thesis, Linnaeus University, Linnaeus School of Business and Economics, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-5759.

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<p>The 21st century imposes totally new challenges on businesses, different from anything they have experienced before, due to a very high degree of complexity and uncertainty. These transformations, in eco-political as well as in social spheres, imply a new conceptualization of leadership. We provide an understanding of leadership based on art, since we regard art as a medium incorporating unaccountable aspects of human life. This unaccountable dimension moreover, is of crucial importance in organizations nowadays, in order to provide the working atmosphere people need in order to excel at wo
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43

Carroll, Jerome. "Art at the limits of perception : the aesthetic theory of Wolfgang Welsch." Thesis, University of Nottingham, 2004. http://eprints.nottingham.ac.uk/13281/.

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This thesis presents and critically assesses the aesthetic theory of the contemporary German philosopher Wolfgang Welsch, in particular his ideas of the intersection of philosophical aesthetics and contemporary culture. The three aspects of his ideas which frame this discussion and which I present in the first chapter are his project for reconfiguring aesthetics as a study of sensory perception, his characterisation of postmodern culture as aestheticised, and his conception of a new focus for aesthetics, the anaesthetic or imperceptible. Welsch's ideas intersect with several key issues in phil
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44

Robinson, David Wayne. "Landscape, taskscape, and indigenous perception : the rock-art of South-Central California." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/284062.

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45

Sosnowska, Emilia. "Ways of sensing multisensory approaches to interactive media art practice and perception." Thesis, University of the West of Scotland, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.736954.

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Boyer, Marie-Monique. "L'Organisation spatiale des formes dans l'oeuvre plastique de l'enfant au Japon et en France." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37603408z.

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Zhao, Yue Qu. "Emptiness as a visual strategy an exploration of visual absence in contemporary art practice : Master of Arts in Art & Design, AUT University, 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/483.

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Haley, Stephen John. "Mirror as metasign : contemporary culture as mirror world /." Connect to thesis, 2005. http://eprints.unimelb.edu.au/archive/00001650.

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Puccini, Marlène. "Point de vue, point de voir." Paris 8, 2004. http://www.theses.fr/2004PA082502.

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Cette thèse débute par la question de la représentation et de la mobilité de ses seuils, elle évolue vers celle de la perception du déséquilibre. Une analyse de la Tavoletta de Brunelleschi, - par laquelle le monde s'offre à voir dans une représentation à l'exactitude qui fait écran sur le réel -, intègre le corps du regardeur qui ajuste entre ses mains le représenté au réel. La représentation est un dispositif au sein duquel le corps est impliqué. Les Délocaliser confrontent inscription et représentation du lieu et retracent des expérimentations sur des matériaux non représentationnels. L'ins
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Wages, Mark A. "Pattern in composition of the visual arts." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1115757.

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This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of th
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