Thèses : « Münsterland (Germany) in art »

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BRUHN, KATHERINE LENEE. « DEGENERATE ART AND NAZI GERMANY ». Thesis, The University of Arizona, 2008. http://hdl.handle.net/10150/190433.

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Stonard, John-Paul. « Art and national reconstruction in Germany ». Thesis, Courtauld Institute of Art (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412753.

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Neuenschwander, J. Brody. « The art history of Speyer ». Thesis, Courtauld Institute of Art (University of London), 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325778.

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Sterthaus, Kerstin. « Motion in architecture and the convergence of art and technology : Art center in Berlin, Germany ». Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1136709.

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"The essence of architecture is the power of adaptation to fresh facts.” Berthold LubetkinThis creative project was my way of exploring if a convergence of art and technology in architecture can exist today.This exploration involved two focus points: one was movement and the other was glass technology.Movement was used for the exploration of the spatial relationships within an interpretation of our society today: the movement on the site as well as the inner motion of the single building elements.Glass was my modern technology tool for translating artistic ideas within architecture. It acts as a mediator between inside and outside space, between art and technology and creates a connection to the ‘understanding’ of our society.This paper is presented in five parts. The first part is the introduction to my thesis and the theoretical research about art and technology. Second is the process which I used for this project. The project is the third part. The fourth part is about glass, which represents my way of exploring the convergence of art and technology within architecture today. The last part of this paper is the overall conclusion.
Department of Architecture

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Rogan, Clare I. « Desiring women : constructing the lesbian and female homoeroticism in German art and visual culture, 1900-1933 / ». View online version ; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174666.

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BARROS, ANA REBEL. « FROM FRIEDRICH TO NOSFERATU : ROMANTICS ASPECTS IN THE GERMANY MODERN ART ». PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15486@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
Este trabalho se propõe a estudar o diálogo entre elementos da cultura romântica expressos no filme Nosferatu, de Friedrich Wilhelm Murnau - sem deixar de lado as influências do movimento Expressionista e do contexto sóciocultural da Alemanha pós-guerra, partindo da observação do historiador Robert Gerwarth (2006) acerca da predominância dos estudos culturais e históricos que ligam os acontecimentos da República de Weimar (1918-1933) ao passado imediato da Grande Guerra, obliterando influências anteriores a ela, e também levando em conta a tese de Rosenblum (1975) que aponta a existência de uma tradição romântica nórdica.
Considering the ideas of the historian Robert Gerwarth (2006) concerning the predominance of the cultural and historical studies that bind the events of the Republic of Weimar (1918-1933) to the immediate past of the Great War, obliterating previous influences on this period, and also taking in account the thesis of Rosenblum (1975) that points to the existence of a Romantic northern tradition, this work intends to study the dialogue between elements of the Romantic culture expressed in Friedrich Wilhelm Murnau´s Nosferatu film - without leaving aside the influences of the Expressionist movement and the sociocultural context of Germany´s postwar period.

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Remond, Jaya Marie-Paule. « The Kunstbüchlein : Printed Artists' Manuals and the Transmission of Craft in Renaissance Germany ». Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11676.

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The dissertation studies sixteenth-century German artists' manuals (Kunstbüchlein), a new kind of book that addresses certain types of artistic practices. The Kunstbüchlein testify to and shape transformations of knowledge in early modern Europe. Disseminating practical knowledge in printed form, they endowed craft know-how with a form of authority until then reserved for the liberal arts. They aimed also to reconcile theoretical and practical knowledge, what Albrecht Dürer (the crucial forerunner to the authors of the Kunstbüchlein) termed respectively Kunst and Brauch. Authors Sebald Beham, Heinrich Voghterr, Heinrich Lautensack, and Erhard Schön sought to provide accessible, useful knowledge. Focused on a limited set of topics, they pretended to be closer to practice and to respond more effectively to the needs of their apprentices than Dürer and others in their publications. In fact, the Kunstbüchlein did not mediate Brauch, but show instead what their authors understood Brauch to be. Emphasizing the hands-on acquisition of knowledge through looking, reading, and doing, the Kunstbüchlein placed the printed image, whether as schematic diagram or finished illustration, at the core of the didactic process.
History of Art and Architecture

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Meyer, Anna R. « That wasn't funny ! the critical humor of Otto Dix in Weimar Germany / ». Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6111.

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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 July 13, 2009) Includes bibliographical references.

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Lennox, Jordana Kay. « Envisioning the new woman : women and art in Weimar Germany 1918-1933 / ». Title page, table of contents and introduction only, 2004. http://web4.library.adelaide.edu.au/theses/09AR/09arl568.pdf.

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Lim, Shan. « Intermedial art and cybernetic vision : Nam June Paik in Germany, 1956 - 63 ». Thesis, Lancaster University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557302.

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This study traces Nam June Paik's intermedial art and cybernetic vision in his German period (1956-63) from the diverse activities as an Action Musician to the making of electronic media artwork. Most of the information was gathered from Paik's writings, correspondences and interviews. Much literature ofPaik extols the new possibilities offered by Video Art, but Paik's early days in Germany, and his intermedial practice and cybernetic strategy of the period have been little explored. This study attempts to examine Paik's German period based on the concepts of intermedia and Cybernetics. Part I (chapters 1-3) provides the historical and conceptual background ofPaik's art. It explains how Paik's avant-garde spirit began during his childhood; and it shows, in turn, how it had been developed to his dissertation on Arnold Schonberg in post-war Japan. Part I then focuses on the post-war techno-cultural discourses as tools for Paik's understanding of the relationship between electronic technology and human sensory perception before examining ./ the art historical context ofPaik's art through such avant-garde practices as Richard Wagner's Gesamtkunstwerk, John Cage's Experimental Music, the Darmstadt School and Fluxus. Part II (chapters 4-6) analyses Paik's artistic activities in Germany from a view of intermedia and Cybernetics. It is intended to contribute to an interdisciplinary project of mapping the early history ofNam June Paik's art. It argues that Paik German period represented an aesthetical moment in which the intermedial communication between body, language and technology were being reconfigured, and it suggests that Cybernetics played a significant role in framing Paik's ideas about complexity, interactivity, and participative creativity around this shifting technological landscape.

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Andrews, Noam. « Irregular Bodies : Polyhedral Geometry and Material Culture in Early Modern Germany ». Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493270.

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The dissertation explores the centrality of the Platonic Solids, and polyhedral geometry generally, to the artistic and mixed-mathematical cultures of Renaissance Germany. Beginning with Albrecht Dürer’s groundbreaking treatise on geometry, the Underweyung der Messung (1525), the dissertation redefines sites of early modern experimentation to include the graphical spaces in which new geometrical knowledge was practiced, invented, contested, manipulated, discarded, and presented. The research describes the historical contexts and development of the practice of polyhedral geometry over the course of the 16th century, expanding from Dürer to the lesser-known textbooks for practical geometry that his work inspired in Germany, and continuing with epitomes of the polyhedral genre, namely Wenzel Jamnitzer’s Perspectiva corporum regularium (1568) and the drawings of the Augsburg artisan Lorentz Stöer. The dissertation then follows the migration of polyhedra into intarsia and turned-ivory artifacts used for teaching applied geometry to European aristocracy, and concludes by addressing the polyhedral cosmology of the astronomer Johannes Kepler. By tracing the lifespan of polyhedra from their use as perspectival tools and pedagogical devices in Renaissance workshops into courtly Kunstkammern and onto the precious surfaces of domestic objects, the dissertation uncovers the influence that the decorative arts had on the conceptualization of geometrical knowledge and its new engagement with materials and concepts of materiality.
History of Science

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Grodzinski, Veronika. « French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914 ». Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.

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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impressionism as the 'painting of modern life' in its original French context, focussing on French Jewish dealer-patrons and collectors whose association with French modernist artists influenced not only its iconography, but also involved French Jews in modern art promotion and marketing. The French model serves as a basis for understanding the reception of such art amongst a liberal circle of Germans and German Jews. The study examines the Wilhelmine reaction to French modernism and shows how antagonism toward Jews and France was often linked and interpreted by conservatives as 'alien elements' in nationalist Germany, thus highlighting Impressionism as a threat of a new Weltanschauung. This thesis suggests that although some German Jews acculturated to the dominant Wilhelmine culture, the championing of modernist art actually emphasized their Jewishness and their role as the 'Other' in German society, despite their patriotism. Yet, in the long run, German Jewish taste for the avant-garde had as much influence on German modernism as German taste had on Jews. The study hypothesizes that German Jews embraced French Impressionism as an 'iconography of inclusion' that coincided with their own experience of modern life and thus their patronage served as a component in the construction of their secular identities. The study concludes that strong German Jewish patronage changed the modern art market irrevocably and by doing so it was not only a turning point for the writing of modern art histories, but also for the reassessment of German Jewish cultural identities, thereby proving that the history of modernist European art patronage encompassed also a history of ideas.

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Doukas, Emmanuel. « Modern art, criticism and the politics of national identity in Germany, 1890-1914 ». Thesis, University of Essex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361036.

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Gibson, Jeffrey Lanham. « The early high-rise in Germany a study in modernism and the creation of a modern metropolis / ». The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487859313347215.

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

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

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Couronne, Céline. « What can Art Teach us about Integration ? : The role of art in postmigrant integration : cases from Germany, Sweden and Luxembourg ». Thesis, Linköpings universitet, Avdelningen för migration, etnicitet och samhälle (REMESO), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-170776.

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The term integration became a buzzword and is omnipresent in the current European discourses. Despite its broad definitions, there is a tendency in migration studies and the political narrative to focus exclusively on migrants and their descendants while upholding the vision of a fixed “host society”, with an established national culture, in which migrants should integrate. The present study aims to reframe the concept of integration by adopting a postmigrant approach and by analyzing the contribution of art projects in this regard. To do so, the study draws on two current theoretical approaches to integration in the social sciences, Stuart Hall’s conceptualization of national culture, the postmigration concept and the societal impact of art as theoretical framework. First, the notion of integration has been positioned theoretically in current postmigrant debates. The content analysis demonstrates that the conceptualization of postmigrant integration takes distance from the notion of assimilation and looks beyond the topic of migration. Second, eight semi-structured interviews have been conducted with project team members and project participants of the art projects “Newcomers”, “Leben, Erzählen, Schreiben”, “Hela Bilden”, and the organization “Alter & Ego”. The thematic analysis of the interviews showed the necessity to address the “host population”, i.e. individuals without experience of forced migration, to overcome monolingualism and to concentrate on societal diversity which contributes to the theorization of postmigrant integration. The present thesis indicates the importance of the arts regarding their societal impact and agency to provide alternative narratives on migration and integration. It also stresses the necessity of integration policies and the European migration regime to take part in the reframing of current migration discourses by directly addressing the “host population” and acknowledging today’s context of plural societies in which everyone should integrate.

This thesis has been written as part of the EuMIGS double degree programme in the field of Migration Studies.

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Snyder, Cara L. « The Christ child as Salvator Mundi a reexamination of the devotional image in Germany, 1450-1550 / ». Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1957.

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Thesis (M.A.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains vii, 41, [24] p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 37-41).

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Kennedy, Shane Michael. « Expressionist Art and Drama Before, During, and After the Weimar Republic ». PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.

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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.

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Zabecki, D. T. « Operational Art and the German 1918 Offensives ». Thesis, Department of Defence Management and Security Analysis, 2009. http://hdl.handle.net/1826/3897.

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At the tactical level of war the Germans are widely regarded as having had the most innovative and proficient army of World War I. Likewise, many historians would agree that the Germans suffered from serious, if not fatal, shortcomings at the strategic level of war. It is at the middle level of warfare, the operational level, that the Germans seem to be the most difficult to evaluate. Although the operational was only fully accepted in the 1980s by many Western militaries as a distinct level of warfare, German military thinking well before the start of World War I clearly recognized the Operativ, as a realm of warfighting activity between the tactical and the strategic. But the German concept of the operational art was flawed at best, and actually came closer to tactics on a grand scale. The flaws in their approach to operations cost the Germans dearly in both World Wars. Through a thorough review of the surviving original operational plans and orders, this study evaluates the German approach to the operational art by analyzing the Ludendorff Offensives of 1918. Taken as a whole, the five actually executed and two planned but never executed major attacks produced stunning tactical results, but ultimately left Germany in a far worse strategic position by August 1918. Among the most serious operational errors made by the German planners were their blindness to the power of sequential operations and cumulative effects, and their insistence in mounting force-on-force attacks. The Allies, and especially the British, were exceptionally vulnerable in certain elements of their warfighting system. By attacking those vulnerabilities the Germans might well have achieved far better results than by attacking directly into the Allied strength. Specifically, the British logistics system was extremely fragile, and their rail system had two key choke points, Amiens and Hazebrouck. During Operations MICHAEL and GEORGETTE, the Germans came close to capturing both rail centers, but never seemed to grasp fully their operational significance. The British and French certainly did. After the Germans attacked south to the Marne during Operation BLUCHER, they fell victims themselves to an inadequate rail network behind their newly acquired lines. At the operational level, then, the respective enemy and friendly rail networks had a decisive influence on the campaign of March-August 1918.

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Penzel, Joachim. « Der Betrachter ist im Text : Konversations- und Lesekultur in deutschen Gemäldegalerien zwischen 1700 und 1914 ». Münster LIT, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2919099&prov=M&dokv̲ar=1&doke̲xt=htm.

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Schmidt, Alexander. « Kultur in Nürnberg 1918-1933 : die Weimarer Moderne in der Provinz / ». Nürnberg : Sandberg, 2005. http://www.loc.gov/catdir/toc/fy0611/2006402832.html.

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Jarzebska, Aneta. « Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s ». Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.

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This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.

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Dortch, Jamie. « Kaethe Kollwitz women's art, working-class agitation, and maternal feminism in the Weimar Republic / ». unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07282006-103433/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Joseph Perry, committee chair. Electronic text (90 p. : ill.) : digital PDF file. Description based on contents viewed May 1, 2007. Includes bibliographical references. Includes bibliographical references (p. 72-75).

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Khut, Chiew-Lee. « Primacy of ideology ? : the confiscation and exchange of "degenerate art" in the Third Reich / ». Title page, abstract and table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.

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Hojdyssek, Gunter Art College of Fine Arts UNSW. « From laughing at the world to living in the world ». Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.

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Born in 1938 in Poland, I epxperienced wartime Berlin and post-war Stalinism. My first job, at sixteen, was with the East Berlin States Opera and the Bertold Brecht's Berliner Ensemble. The play writes Betrtold Brecht and Buechner had the strongest influence on me. Brecht's play 'Mutter Courage and her children' and Georg Buechner's 'Woyzech' encapsulated the harsh realities of post-war Europe, and confirmed my desire for social justice and reform. Yet, the main influence on my work comes from my own life experience. My life in Australia has become a kind of exile-a deprivation of the origin of my culture and my cradle. After nearly forty years in Australia I feel a little displaced. Yet I left Europe voluntarily to escape from the very culture and history I now miss. I am experiencing a common dilemma of migration. I belong neither here nor there-a kind of dislocation. There exists a twilight zone in the in-between time-a discontinuity of my Berliner development. Artists such as Kaethe Kollwitz, John Heartfield, George Grosz, Otto Dix, and Max Beckman influenced my teenage years. Later, Joseph Beuys, Anselm Kiefer and Georg Baselitz. I work with found objects, such as toys crafted by human hand. I am giving them a new meaning, a new being. They are meditations on the conflict of war, where women and children are the primary victims of political fragmentation. My sculptures evoke memories of a childhood stolen. They take on a menacing character reminding the viewer of the effects war has on humanity. But Art is the reflector and searcher; it is our way to enlightenment. Joseph Beuys introduced the concept of an expanded notion of art ("der erweiterte Kunstbegriff???) to surpass the boundaries of modernism with in art, science, spirituality, humanism and economics. He drew attention to the potential of human creativity. Art, against all odds, is poetry to life.

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Boetzkes, Amanda. « Berlin in disorder : the representation of nature in the works of George Grosz ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79288.

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George Grosz's paintings and drawings of Berlin during the Weimar period demonstrate a complex matrix of tensions between nature and the urban experience. In his work, mechanization, sexuality, gender and animality are recurring themes that cue the viewer to the profound anxiety that modernity had unleashed a chaotic force into the city. Using an ecofeminist analysis, I show how the disorder of the city was imagined as a primordial human condition in which a previously disavowed connection to nature was suddenly foregrounded. Though Grosz's renditions of Berlin scenes are ironic, they also revel in the demise of social order. In this thesis, I argue that Grosz's art deploys the conceptual force of unmastered nature as a critical tool, at the same time showing how nature was integrated into the cultural fabric of urban life.

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Arora, Chaya. « Germany's civilian power diplomacy : NATO expansion and the art of communicative action / ». New York : Palgrave Macmillan, 2006. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9781403974198.

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Brooke, Magdalene A. « Mauerkunst, lebenskunst : an anlysis of the art on the Berlin Wall ». Scripps College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,8.

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The art on the Berlin Wall has been looked at often for its social and political meaning. Instead, I intend to look at the artwork and text which appeared on the Berlin Wall as art. In this paper I will discuss the formal aspects of the art on the Berlin Wall as well as its import as an example of public art and as a forum created through visual representation.

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Link, Anne-Marie Luise. « Papierkulture : the new public, the print market and the art press in late eighteenth century Germany ». Thesis, Birkbeck (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260932.

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The thesis investigates some elements of the eighteenth century German public sphere concerned with the visual arts. It considers the periodical press (with the art journal Miscellaneen artistischen Inhalts [1779-1808] providing a particular focus), the new bourgeois public for this press (the subject of Part I), and what is argued was the most crucial mediator of the visual to the new public, the engraved print, particularly the English print. The thesis locates these issues into the larger project of eighteenth century German bourgeois society, that is, the creation of a cultured class, with the 'man of taste' at its core. Part II considers the periodical press in general, and the art journal in particular, in relation to the new reading public and to the role they played in mediating/constructing information about the print as an art object. The role of print collecting handbooks in creating a discourse about the print as art and as equal to painting is similarly considered. The idea of Nachr.ichtenverkehr (information exchange) as part of Warenverkehr (commodity exchange) is discussed in terms of the art journal's use of artist's biography and its role in the print market. Part III focusses on the fashion (Mode) for the English print in Germany and explores, through the use of the case study, the issues of review writing and the male reader/viewer in regard to the subject matter, form, and medium of the English print (and some of its German imitators) . It is argued that the English print, because of its strong market presence and its representation of what was believed to be a positive English middle class model, had a relevance to Germany's new art collecting public. The specific examples of the stippled 'fancy' picture, the 'Grecian' pictures of Arigelica Kauffmann and the engraved modern history piece of West's Death of General Wolfe, are discussed respectively in terms of gendered viewing, bourgeois notions of virtue and the 'feeling' viewer. The final section points out that the development of a public taste, as formed by the press and the print market, was not without its opponents. The use of the public's press by scholars and academicians is discussed in terms of their project as self-appointed leaders in the creation of a tasteful society, and their own agenda of instituting measurable standards based on their interpretation of the antique, art theory and a metahistorical notion of 'art'.

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Enderlein, Angelika Graetz Robert. « Der Berliner Kunsthandel in der Weimarer Republik und im NS-Staat : zum Schicksal der Sammlung Graetz / ». Berlin : Akad.-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2838732&prov=M&dok_var=1&dok_ext=htm.

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Maxon, Wendy S. « The body disassembled : world war I and the depiction of the body in German art, 1914-1933 / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3044795.

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Roth, Isabel L. « From the Attic to the Cosmos : Myth in the Art of Anselm Kiefer 1973-2007 ». Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/122.

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Anselm Kiefer was born in Germany, 1945—the year of Adolf Hitler’s suicide, and subsequently, the end of World War II. His own beginnings were shrouded by a national “repression” of history. This repression was at odds with Kiefer’s needs to establish his own origin. For this reason, the spirituality in his earlier work is often overshadowed by its subject—Nazi Germany. This thesis will look back on Kiefer’s work through the lens of mythology in an effort to re-evaluate his earlier art within the context of his works since 1990. From the 1970s to the present, Kiefer has drawn from mythology to find links between personal and universal human experience. We begin by examining Kiefer’s controversial Attic Paintings of 1973. In the Attic Paintings, German and Christian mythology helped Kiefer understand his origin as a post-war German artist. Kiefer then turned his attention to myths from outside cultures throughout the 1980s. We will look closely at three paintings from the 1980s that incorporate Greek, Judaic, and Egyptian mythology in an effort to understand Kiefer’s larger goals in broadening his mythological base. Following this discussion, we will examine two paintings from the 1990s and his 2007 permanent installation at the Louvre Museum. These selected works serve to illustrate how Kiefer presented his own cultivated, personal mythology under the stars in his still ongoing cosmic series. The 1990s mark Kiefer’s broadest expansion yet; in a sense, he went from “the attic to the universe” over the course of three decades.

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Mock, Markus Leo. « Kunst unter Erzbischof Ernst von Magdeburg ». Berlin : Lukas, 2007. http://catalog.hathitrust.org/api/volumes/oclc/85842098.html.

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Bryan, Sarah M. « African Imagery and Blacks in German Expressionist Art from the Early Twentieth Century ». Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1353179467.

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Elliott, Benjamin Wing. « An object under light : the metaphysical strength of light as revealed in Saint Augustine's Confessions ». Thesis, Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23928.

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GRATSON, SCOTT D. « A STRATIFICATION OF DEATH IN THE NORTHERN RENAISSANCE : A RECONSIDERATION OF THE CADAVER TOMBS OF ENGLAND AND GERMANY ». Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/587512.

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Art History
Ph.D.
This analysis is on the function of cadaver or transi tombs in the south of England and Germany from the fifteenth to early sixteenth centuries, at particular moments when theological and cultural shifts related to Church reforms and the Reformation were tethered to new considerations about death, memorial, and changing concepts of the soul and matter. The study begins with a focus on the tombs of Henry Chichele (1364–1443) in Canterbury Cathedral in Canterbury, England, and Alice de la Pole (1404–1475) of Saint Mary’s Church in Ewelme, Oxfordshire, England. Additionally, the memorial relief of Ulrich Fugger (1441–1510) in Saint Anna's Church in Augsburg, Germany, acts as a bridge to Hans Holbein’s painted Dead Christ in the Tomb (1521) in the Kuntsmuseum Basel, in which Christ is simultaneously portrayed as an effigy, transi, and resurrected body. This was also an extended period when notions of visuality changed, along with preferences for different media and pressures on images and objects. As the demands of verisimilitude and discourses about presence and matter changed, media progressed from three-dimensional sculpture and carved relief to oil paint on wood. Transi tombs embodied this trajectory, altering uses and impressions of materials as they progressed from metal to stone to relief carving and paint. Transi tombs, in particular, structured time as a malleable construct, through the incorporation of varying images and their configuration in different visual strata and degrees of vividness and decay. By merging motifs of the dead with the Resurrected Christ, the transi tomb phenomenon situated death in relation to the viewer’s experience of mortality, memorial, and remembrance. Through these changing images and media, public perception of death was inextricably transformed, coinciding with the advent of the Reformation.
Temple University--Theses

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Chadwick, Catherine Mary. « Wassily Kandinsky and the Gesamtkunstwerk tradition : the role of south German baroque architecture in Kandinsky's move to abstraction ». Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65454.

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Van, Loo Anne. « Un architecte belge au coeur de l'Allemagne wilhelminienne : Henry van de Velde 1900-1917 ». Doctoral thesis, Universite Libre de Bruxelles, 1994. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212625.

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POLA, FRANCESCA. « MITICO PLASTICO MAGICO. Italia e Germania 1918-1925. Episodi e figure di un dialogo artistico ». Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/218.

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La ricerca ha individuato come elemento specifico d'interesse la ricostruzione storico-critica delle relazioni artistiche tra Italia e Germania, nel periodo compreso tra il 1918 e il 1925, nel corso del quale sono stati riscontrati gli episodi più rilevanti e i momenti originanti di sviluppi significativi per gli artisti, i galleristi e gli intellettuali coinvolti in queste relazioni. La ricostruzione storica delle vicende espositive, bibliografiche, documentarie, che hanno costituito il tessuto attraverso il quale si sono sviluppati e intrecciati i percorsi dei due ambiti culturali, è stata arricchita dall'individuazione e dall'approfondimento di alcuni aspetti e tematiche che si sono riconosciuti come ricorrenti e fondanti il dialogo artistico tra Italia e Germania nel corso del periodo preso in esame. Il primo capitolo si concentra sul quadro di riferimento storico-critico e sulle figure di mediatori che ne hanno permesso gli scambi, mentre il secondo sull'ambito delle relazioni tra Valori Plastici e la Germania. Il terzo capitolo ricostruisce le vicende di alcuni artisti tedeschi che nel periodo in questione soggiornano in Italia (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). L'ultimo capitolo accenna invece ad alcune ipotesi di analisi comparativa, che testimoniano del comune terreno di ricerca.
This research has been considering as a specific element of interest the historical-critical reconstruction of the artistic relationships between Italy and Germany in the period 1918-1925. During these years, it has recognized the most relevant episodes and the originating moments for meaningful developments in the following decades, for artists, galleries, intellectuals involved in these relationships. The historical reconstruction of exhibitions, publications, documents, which determined the environment for the courses of the two cultural surroundings to develop and intertwine, has been enriched by the identification and study of some aspects and themes recognized as recurring and founding for the artistic dialogue between Italy and Germany in the analyzed period. The first chapter focuses on the historical-critical frame of reference and on the figures of mediators who allowed these exchanges, while the second concentrates on the relationships between Valori Plastici and Germany. The third chapter reconstructs the Italian stays of some German artist who reside in Italy during this period (Georg Schrimpf, Carlo Mense, Alexander Kanoldt, Christian Schad). The last chapter proposes some hypotheses for comparative analysis, that testify the common ground of research.

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Kunau, Katherine Anne. « Borrowing the wings of Daedalus : competing ideas of divine wisdom and secular scholarship in the decoration of the library hall of Bad Schussenried ». Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1007.

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An examination of the iconography (primarily ceiling fresco) in the library hall in the German monastery of Schussenried. Thesis deals with the historical context surrounding the creation of this space and how the depicted scenes reflect both the influences of the Counter Reformation and Enlightenment.

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Salty, Iman. « Ha Ha Hannah Höch : Beautiful, Dancing, Androgynous Girls, 1919-22 ». Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1021.

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This thesis examines three photomontages by Berlin Dada artist Hannah Höch, The Beautiful Girl (1919-20), an untitled work from 1920, and Dada-Tanz (1922). It discusses how Höch used photomontage to fulfill the Dada mission of incorporating chaos into art as an expressive means of commenting on the sociopolitical climate of Germany post-World War I. These three photomontages specifically reveal Höch's concerns for female individuality in an environment of gender inequality during this early modern era.

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Stoll, Ulrike. « Kulturpolitik als Beruf : Dieter Sattler (1906 - 1968) in München, Bonn und Rom / ». Paderborn [u.a.] : Schöningh, 2005. http://www.h-net.org/review/hrev-a0e7g8-aa.

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Huyer, Michael. « Die Stralsunder Nikolaikirche : die mittelalterliche Baugeschichte und kunstgeschichtliche Stellung : mit formalanalytischen Betrachtungen zu den Architekturgliedern der Domchöre in Lübeck und Schwerin, der Klosterkirche Doberan und den Pfarrkirchen St. Marien in Lübeck und Rostock ». Schwerin Helms, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2677420&prov=M&dokv̲ar=1&doke̲xt=htm.

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Ziegler, Ulrike. « Kulturpolitik im geteilten Deutschland : Kunstausstellungen und Kunstvermittlung von 1945 bis zum Anfang der 60er Jahre / ». Frankfurt am Main [u.a.] : Lang, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014659178&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Sokolova, Lilia [Verfasser], et Norbert [Gutachter] Nußbaum. « Post-Secular Space : On the Strange Place of Contemporary Art in Old Active Churches in Germany, 1987–2017 / Lilia Sokolova ; Gutachter : Norbert Nußbaum ». Köln : Universitäts- und Stadtbibliothek Köln, 2018. http://d-nb.info/1183255438/34.

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Hahn, Stephanie. « Fulda "Zur Zierde der Stadt" : Bauten und Bauaufgaben der Residenzstadt im 18. Jahrhundert / ». Petersberg : Imhof, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2642827&prov=M&dok_var=1&dok_ext=htm.

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Davies, Veronica. « A comparative study of state art policies : institutional practices and exhibition organisation in Britain and Germany c.1945-51 with particular attention to the cultural policies of the British-occupied zone of North West Germany during these years ». Thesis, University of East London, 2005. http://roar.uel.ac.uk/1300/.

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This thesis is a comparative study of state policies and institutional practices relating to art in Britain and Germany in the period from 1945-5 1. This study examines the context for the production of visual art and considers its dissemination through art exhibitions and criticism in this important transitional period. It also assesses the contribution of the visual arts towards the process of cultural reconstruction and to the re-negotiation of national identities in both countries. Significantly, the cultural history of this period has been relatively under-examined and has not been the subject of extensive nor detailed research. Until now, mainstream art-historical accounts have tended to focus on the Paris-New York axis during these years, rendering Anglo-German art developments relatively peripheral. It is this marginalisation that this thesis seeks to counter. This study is divided into two main sections. The first focuses on the British Zone of occupation in postwar Germany. My research draws on a wide range of British and German archival and other sources to compare the experiences and perceptions of the British occupying forces with the different approaches adopted by German artists and arts administrators involved in reconstruction. The second section offers a detailed comparative case study of two regional art museums, Leeds City Art Gallery and the Kaiser Wilhelm Museum in Krefeld. A particular feature of this comparison is the detailed investigation of these museums' exhibition and acquisition policies, and how these relate to the wider political issues and cultural imperatives identified in the first section. My conclusion reinforces the broader view that the years 1945-51 form a turbulent transitional period in the cultural histories of both Germany and Britain. What is underlined is the often provisional and contingent nature of arts policies as they were aligned with and incorporated into wider aims of cultural reconstruction. What also emerges are the complex ways in which the visual arts contributed towards, and were subject to, the fluctuating and evolving political and cultural circumstances of both countries in the years leading up to the Cold War.

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French, Rebecca S. C. « The devil in disguise : a comparative study of Thomas Mann's "Doktor Faustus" (1947 and Klaus Mann's "Mephisto" (1936, focussing on the role of art as an allegory of the rise and fall of Nazi Germany / ». Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1634/.

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Pettersson, Jimmy. « Analys av meningsskapandet i Hannah Höchs fotomontage Schnitt mit dem küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands ». Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3178.

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This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.

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Wehser, Astrid. « Anna Wilhelmine von Anhalt und ihr Schloß in Mosigkau / ». Kiel : Ludwig, 2002. http://www.h-net.org/review/hrev-a0e8r2-aa.

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Thèses sur le sujet « Münsterland (Germany) in art »

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