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1
Veasey, Melanie. „'Reforming academicians' : sculptors of the Royal Academy of Arts, c. 1948-1959“. Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34791.
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Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, The Post-war Expansion of State Patronage , investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, The Royal Academy Sculpture School , examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. Chapter Three, The Royal Academy as Community , traces the socialisation of London-based art societies whose memberships helped to identify sculptors for potential election to the Royal Academy; it then considers the gifting of elected Academicians Diploma Works. The empirical mapping of sponsorship for elected sculptors is investigated to determine how the organic profile of the Royal Academy s membership began to accommodate more modern sculptors and identifies a petition for change which may have influenced Munnings s speech (1949). Chapter Four, The Royal Academy Summer Exhibitions , explores the preparatory rituals of the Selection and Hanging Committees, processes for the selection of amateurs works, exhibit genres and critical reception. Moreover it contrasts the Summer Exhibitions with the Arts Council s Sculpture in the Home exhibition series to identify potential duplications. Chapter Five, Sculpture for the State , considers three diverse conduits facilitating the acquisition of sculpture for the state: The Chantrey Collection administered by the Royal Academy and exhibited at the Tate Gallery; the commissioning of Charles Wheeler s Earth and Water (1951 1953) for the new Ministry of Defence, London; and the selection of Siegfried Charoux s The Neighbours (1959) for London County Council s Patronage of the Arts Scheme . For these sculptures, complex expressions of Britishness are considered. In summary this thesis argues that unfettered by their allegiance to the Royal Academy of Arts its sculptors sought ways in which they might participate in the unprecedented opportunities that an expanded model of state patronage presented.
2
Hoock, Holger. „The king's artists : the Royal Academy of Arts as a 'national institution', c1768-1820“. Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365672.
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Shirota, Sère Yoshino. „Royal Academy of Arts de Londres, sa position, son rôle dans l'histoire de l'art, depuis sa création jusqu'à nos jours“. Paris 4, 2003. http://www.theses.fr/2002PA040263.
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Ce travail décrit le Royal Academy de son régime, à ses locaux divers et variés, son école, ses expositions annuelles, ses problèmes et réussites. Fondée en 1768, la Royal Academy fut créée par la volonté de quelques artistes conscients du manque de patronage et de lieu de formation. Ayant le roi George III comme patron et protecteur, sans toutefois être le propriétaire, l'institution était privée et gérée uniquement par les artistes. Joshua Reynolds fut le premier président. L'exposition annuelle d'œuvres d'artistes vivants, l'équivalent du Salon était un événement important dans le monde artistique du pays représentant pour beaucoup d'artistes la chance de réussite. L'école de la Royale Academy, installée à Burlington House depuis 1868, continue d'être indépendante, prestigieuse, et très activeThe work describes the royal Academy of Arts , its origin, its various homes, the school it founded in 1768, the Annual Exhibitions, its problems and achievements. Founded in 1768, the Royal Academy of Arts in London was created by some artists, determined and conscious of patronage and of the training place within the country. The king George III was patron and protector, though not proprietor, and Sir Joshua Reynolds was the first president. It has been located in Burlington House since 1868. The Annual Exhibition by works of living artists, the equivalent of Paris Salon was an important event for the artistic world of the nation. It meant, for many artists, the hope for the fame. The schools of the Academy trained many leading artists such as Turner, Lawrence, Constable and Wilkie. Today, the Royal Academy remains independent, prestigious, and a popular venue for prominent exhibitions
4
Soden, Joanna. „Tradition, evolution, opportunism the role of the Royal Scottish Academy in art education, 1826-1910 /“. Thesis, Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2006. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=59750.
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Foot, Michelle Elizabeth. „Modern spiritualism and Scottish art between 1860 and 1940“. Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230582.
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This thesis is formed from original research into the cultural impact of Modern Spiritualism in Scotland during the late nineteenth and early twentieth century. Until the twenty first century academic scholarship has failed to recognise the historic importance of the Spiritualist movement's widespread popularity and the influence it had on art during this period. The findings of this research provide a new understanding and greater appreciation of art from this time. As academic investigation into Spiritualism's historic significance is largely absent, this study focuses on primary sources from an extensive range of Spiritualist literature, including Spiritualist magazines and newspapers. The number of cited artworks, which were discovered and analysed during this research, support the notion that investigation into Spiritualism's influence during this period is necessary. This thesis is divided into two parts: Part One focuses on artworks by Spiritualists intended for Spiritualist audiences. Chapter 1 outlines a history of the Spiritualist movement in Scotland for the first time in order to establish a context for discussion in the following chapters. Chapters 2, 3 and 4 highlight unknown artworks by Spiritualists, such as Jane Stewart Smith and David Duguid, and analyse how those artists responded to private and public Spiritualism in Scotland. Part Two reveals new interpretations of mainstream Scottish art but which art historians have not previously acknowledged as having Spiritualist associations. In Chapter 5, case studies of members of the Royal Scottish Academy demonstrate that Spiritualism did influence mainstream Scottish artists, such as Alfred Edward Borthwick and George Henry Paulin. Chapter 6 reconsiders the Celtic Revival in Scotland, specifically by re-evaluating current interpretations of John Duncan's work with reference to Duncan's Spiritualism. The final chapter examines war memorials in Scotland as a response to mass social bereavement and Spiritualism's increased popularity during and after the First World War.
6
Morris, Cathryn. „Miracles or myth : the royal Raymond Rife story“. Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/236.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Film
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Darlington, Anne Carol. „The Royal Academy of Arts and its anatomical teachings : with an examination of art-anatomy practices during the eighteenth and early nineteenth centuries in Britain“. Thesis, UCL Institute of Education (IOE), 1990. http://discovery.ucl.ac.uk/10006566/.
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The thesis investigates the artistic and anatomical practices taking place between circa 1768 and 1810, primarily in the context of the Royal Academy of Arts. In focusing on the educational components of anatomical knowledge, the dissertation examines the style, methodology and the various types of private and public teaching available to artists and medical students during this period. In Chapter One, I examine the social, professional and demographic factors uniting artists and medical men. The social and professional divide that at one time kept such professions apart, was now being filled by informal gatherings. Neither artists nor anatomists however, were solely reliant on venues like the Royal Academy of Arts and private anatomy theatres. Such meetings often began in and around London's social milieu: the coffee-house culture. In Chapter Two, I go on to look at the curriculum used in the Royal Academy Schools. An artist pursuing studies in the human figure would attend life classes, anatomy lectures, dissections, and teachings on physiognomy. The Academy Schools were not immune to the medical and scientific influences of the eighteenth and early nineteenth centuries; the theories and practices of medical men infiltrated artistic training. Consequently, a number of private anatomy schools in the metropolis were open to both medical and art students. Other private drawing and dissecting classes had their own anatomical museums attached, providing art students with the opportunity of painting from pathological specimens. In Chapters Three and Four, I proceed to explore the part played by William Hunter, an obstetrician, anatomist and the first professor of anatomy at the Royal Academy of Arts. Hunter and Joshua Reynolds were in agreement concerning anatomical instruction for artists. It was an education consisting of a thorough knowledge of the human body, and the ability to translate such anatomical information on to a canvas. Discussed here also is Hunter's large obstetrical atlas, and the life-size painted panels of Gautier D'Agoty. I then proceed in Chapter Five, to examine the Plaister Academy. I examine its students, the curriculum and its teachers. While at the Royal Academy, William Hunter had access to the Plaister Academy and, as I suggest, it is here that he made his three-dimensional plaster of paris models of female anatomies. As a whole, it is the aim of this dissertation to have thoroughly explored the links between artists and anatomists in England between 1768 and 1810, and to have documented the rise and nature of art education in this period.
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Lidman, Charlotte. „Konstes fria studie : En undersökning av förändringarna i avgångselevernas examensutställningar vid Kungliga Konsthögskolan 1962-2011“. Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-276865.
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The aim of the essay is to examine how the student exhibitions of the Royal University college of Fine Arts in Stockholm has changed between 1962-2011, and what these changes can depend on. The questions are: What are the changes in the choice of examination work for the students of the Royal University college of Fine Arts, and what can they depend on? Is the school adjusting their education to the surrounding art world, and in what way is that noticeable? By studying the catalogs from the exhibitions, newspaper reviews and other literature, a shorter conclusion is given concerning the art world, the study situation and the student’s choices of examination works the affected years. The works has gone from being a submission of the study fields during the year, to becoming free projects where stories about important subjects are told. Pressures on the school from students and teachers to be able to keep up with the surrounding view of art in the society that is constantly changing, together with reforms and investigation has led to these changes.
9
James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College und School of Humanities. „The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939“. THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
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James, Pamela J. „The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939“. Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
11
James, Pamela J. „The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /“. View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
12
Guillin, Marjorie. „"L'anéantissement des arts en province ?" : l'Académie royale de peinture, sculpture et architecture de Toulouse au XVIIIe siècle (1751-1793)“. Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20080.
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En 1751 fut fondée l’Académie royale de peinture, sculpture et architecture de Toulouse par lettres patentes royales. Dissoute par décret de la Convention le 8 août 1793, cette institution méconnue fut la seule académie d’art en province à bénéficier de cette distinction. Au siècle suivant, l’historien d’art Philippe de Chennevières-Pointel, militant pour la revalorisation des provinces, la présenta comme un modèle, par son dynamisme, en tant que garante et protectrice des arts régionaux face à l’action centralisatrice et stérilisante de l’Académie royale de peinture et de sculpture de Paris. S’appuyant sur un important corpus documentaire et graphique, pour l’essentiel inédit, cette étude propose un renouvellement complet des connaissances sur l’Académie toulousaine : ses origines, les détails de sa mise en place, le quotidien de ses enseignements, ses écueils et ses réussitesThe Royal Academy of Painting, Sculpture and Architecture of Toulouse was founded in 1751 by royal letters patent. Until its termination by a Convention decree on 8th August 1793, it has been the only art academy outside Paris of that stature ever. In the 19th century, the French art historian Philippe de Chennevières-Pointel, an active advocate of provinces, presented it as a showcase of thriving guardian of regional arts that balanced the centralizing and inhibiting Paris' Royal Academy of Painting and Sculpture. Leveraging a rich corpus of documents and illustrations, most of them undescribed to this day, this study sheds a brand new light on the Toulouse Academy: its origins, the details of its rise, its daily teachings, its shortcomings and its achievements
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Dupont, Erika. „Présence et réception des artistes anglais à Paris durant l'entre-deux-guerres“. Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H044.
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Après la Première Guerre mondiale, des artistes affluent du monde entier vers la France, en particulier vers Paris, qui devient le principal foyer artistique européen durant l'entre-deux-guerres et qui voit se développer des courants mêlant tradition et avant-garde. C'est à cette période qu'immigrent de nombreux artistes originaires des pays du sud et de l'est de l'Europe (surtout pour des raisons sociales, religieuses et politiques, conséquences, notamment, des pogroms juifs et de la révolution russe). Paris, phare culturel du monde à l'époque, attire de plus en plus d'artistes qui rejoignent ceux déjà présents depuis le début du XXème siècle, tels Picasso, Braque ou Matisse. Entre temps, le centre artistique de la ville a migré du quartier de Montmartre vers celui de Montparnasse, qui compte parmi les artistes les plus représentatifs l'italien Modigliani, le suisse Giacometti, l'espagnol Dali, le russe Soutine, le biélorusse Chagall, ou encore le roumain Brancusi.Certains sont plus attirés par le Nouveau Monde et rejoignent Duchamp à New York, tandis que peu d'artistes américains émigrent vers Paris : ce sont plutôt des écrivains américains qui font le voyage inverse et s'installent dans la Ville Lumière (on pense à Ernest Hemingway ou Ezra Pound). Mais qu’en est-il des artistes anglais à Paris ? C’est le sujet de notre travail de recherche : qui sont, précisément, les artistes qui migrent ? Quelles sont leurs motivations ? Quel type d'œuvres ont-ils produit ? Quelles ont été leurs relations avec le milieu artistique et le public parisiens ? Quels échanges franco-anglais sont issus de cette présence anglaise en France ?There were many English artists in France between 1919 and 1939. Yet this has been neglected. This project will do explore the English presence on the Parisian artistic scene and the reception of English artists by their French counterparts.After the First World War, artists came from the entire world to Paris. It became the main European artistic centre during the interwar period, where several artistic movements developed. Some of these artists came from Southern and Eastern Europe, often for social, religious and political issues.Paris attracted more and more artists who joined those who had been there since the beginning of the 20th Century – Pablo Picasso, Georges Braque or Henri Matisse, among others. At the same time, the artistic centre of Paris moved from Montmartre to Montparnasse, which gathered the Italian Amedeo Modigliani, the Swiss Alberto Giacometti, the Spanish Salvador Dali, the Russian Chaïm Soutine, the Belarusian Marc Chagall or even the Romanian Constantin Brancusi. Some artists preferred the appeal of the New World and joined Marcel Duchamp in New York, although relatively few American artists moved to Paris. French scholars have taken an interest in the period: the Franco-Russian artistic cooperation in Paris has been recently analysed by Tatiana Trankvillitskaia, while the Belgian presence is being studied by Céline De Potter.However, English artists in Paris have yet to be studied. Their contribution to artistic life or the impact of Paris on the English art at that time have been neglected by French historians.This current project traces the details of that English presence in France during the interwar years: who were the artists that came over? What was their subject matter? What kind of works did they produce? What were their relationships both with the artistic milieu and the Parisian public? What was the impact of French works on English art? The goal is to define the place of English artists within the “École de Paris.” Who were they and what were they attracted to?
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Bertram, Beatrice. „Redressing William Etty at the Royal Academy (1820-1837)“. Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8523/.
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This thesis seeks to offer a re‐evaluation of the celebrated yet controversial painter William Etty R.A. (1787‐1849), whose diverse output has become virtually synonymous with his notorious and enduring artistic preoccupation with the nude. In his own time, Etty was periodically criticised for indulging in this perceived obsession, which troubled his contemporaries and which still dominates modern scholarship. While acknowledging the futility of attempting to preclude the nude in my reassessment of Etty’s pictorial practice, I argue that a different frame of reference might be similarly productive in seeking to redress his art‐historical significance. Therefore, this study aims to advance an alternative hermeneutic approach: one that eschews special focus on the nude, and instead examines his works through the prism of contemporary exhibition culture. To serve this purpose, I will provide close visual readings of a range of the artist’s most striking and intriguing contributions to a series of pivotal Royal Academy exhibitions, paying particular attention to the ways in which Etty exploited these summer shows as a forum for painterly performance and public display. By means of five detailed case studies – each of which expresses certain themes or perceptions of him as an artist – I intend to construct a more textured, nuanced narrative about his agenda, trajectory and presence at exhibition between the years 1820 and 1837. Consciously situating itself in the volatile climate of nineteenth‐century art criticism, my project rests upon the most comprehensive survey of contemporary press coverage related to Etty that has ever been undertaken. Ultimately, my thesis seeks to recover, reconsider and resurrect Etty’s contemporary status as an ambitious and complex participant within the late‐Georgian art world.
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Leung, Yin-ling Carol, und 梁燕玲. „Academy of fine arts“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31982062.
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Leung, Yin-ling Carol. „Academy of fine arts“. Hong Kong : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25944873.
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Lam, Hei Lawrence. „Hong Kong Film Academy“. Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951713.
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Ograjenšek, Suzana. „From Alessandro (1726) to Tolomeo (1728) : the final Royal Academy operas“. Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/251994.
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Wong, Wei-him Ivan. „Film Academy in Aberdeen“. Thesis, Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25949408.
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Gillies, Donald Robert. „Perception of change in education, training and development in the NSW Royal Police Service, post the Wood Royal Commission /“. Electronic version, 2005. http://adt.lib.uts.edu.au/public/adt-NTSM20060822.160739/index.html.
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Woods, Gregory F. „Objects of sentience, an academy of wooden arts“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ26762.pdf.
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Lam, Hei Lawrence, und 林晞. „Hong Kong Film Academy“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982906.
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Campbell, Thomas. „The English royal tapestry collection : 1485-1547“. Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312477.
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Trodd, Colin. „Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863“. Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.
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Osborn, Connie J. (Connie Jo) 1969. „Martial arts academy : an examination of duration and discrepancy“. Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/69429.
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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2001.Includes bibliographical references (leave 45).
Other than the martial component, the primary concern for many of the martial arts is answering the question, "what is self?". The task of answering that question has historically belonged to the martial arts to the extent that they both came out of Buddhist schools of thought. For many of the martial arts self knowledge is one of the principle components. Both Buddhism and Taoism talk about a 'way' of the world, which is also the 'way' of self. Self is the same for everyone as all beings are cut from the same cloth of self. When one asks the question "what is self?", it is quite surmising to hear that self has no inherent features. We have all heard the Buddhist claim that 'all is void', and will probably be more surprised to discover that this means that there is in fact no self at all. The significance of this is revealed when one experiences that the nature of all things is change. This is why there are no features to self, as soon as one defines self, that limited definition falls away and is replaced by a new one. The discovery of this is not as efacing as it may seem, as it offers in exchange for a fixed self, one that can accommodate all things. It is void that permits the presence of things. According to Buddhist thought, all suffering arises from the desire to have things remain the same. Accepting that they won't or can't liberates the self to the enjoyment of being in present time. The immediacy and inherent meaning in all things becomes infinitely available. Within change it is evident that all things are continuous, without distinction one from the other. In every sense, self belongs to the greater body of all existence. In martial arts the practice of meditation is essential. The first lesson of meditation is often to simply observe ones breath. In the observation of the full duration of breathing, the constancy of change becomes apparentand the experiencing of the exclusive truth of now is layed bare. In the performance of martial arts this is vital. As soon as the artists mind stops or fixes in a particular moment, fear may enter, or she may rely on thought rather than being to perform and thus lose the fluidity of free action and become victim to defeat. If in the design of a martial arts academy it was the intention of the architecture to provide evidence of change, it would not be necessary to create change because change is happening at all times and in all places. It may only be necessary to call attention to it. In tracing the lines of overflow of the Rio-Grande River for the course of forty recorded years, I reaffirmed the truth of change. While examining the discrepancy between and among each line I could not find the defining line of the river. I wanted to build th is into the architecture, and so this became my thesis.
by Connie J. Osborn.
M.Arch.
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Ng, Lai-ki. „Synergic atelier : the Hong Kong Academy for Arts and Design /“. Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948945.
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Ng, Lai-ki, und 吳麗琪. „Synergic atelier: the Hong Kong Academy for Arts and Design“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984113.
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Lax, Lucinda. „The 'ingenious moral painter' : Edward Penny, the Royal Academy and the reinvention of genre painting 1768-1782“. Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/4677/.
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Edward Penny (1714–1791) was the Royal Academy’s founding Professor of Painting and a frequent participant in the public art exhibitions that transformed London’s art world after 1760. Although Penny’s work has traditionally been dismissed as ‘tame’ and sentimental, recent scholarship now suggests that his mid-1760s exhibition paintings should be recognised as a highly significant attempt to apply the themes and concerns of historical art to accessible, contemporary subject matter. This thesis builds on these reinterpretations, but focuses on the still almost wholly neglected works from Penny’s Academy professorship (1768-83). Habitually dismissed as of marginal importance in comparison with the ‘grand manner’ portraits and history paintings for which the Academy is best known, these works are shown here to be among the most important and influential products of Penny’s long exhibition career. Using carefully contextualised close readings, each chapter takes a coherent phase of Penny’s career as an Academy exhibitor. The first two chapters show how the artist at first struggled to find a form of art that would be sufficiently dignified to conform to the Academy’s lofty artistic aims without forsaking the accessible, distinctly ‘British’ subject matter he favoured. The remaining chapters show how Penny finally succeeded in solving this problem by using scenes from everyday life to convey elevated moral messages. These ‘sermons in paint’ made such humble themes acceptable to the Academy, providing the inspiration for an enduring tradition of Academic ‘genre’ painting, pursued at first by William Redmore Bigg and George Morland, and then, more famously, by such figures as David Wilkie and William Mulready. Penny thus emerges not only as the foremost proponent of a previously unrecognised counter-classical idiom at the heart of the early Royal Academy, but as a critically influential figure in the development of eighteenth- and nineteenth-century British art.
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Eastmond, Antony Deyman. „Royal imagery in the medieval Kingdom of Georgia 786-1213“. Thesis, Courtauld Institute of Art (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261638.
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Webb, Elizabeth Ruth. „Arts for everyone? : the distribution of arts lottery funds by region and genre 1995-98“. Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340310.
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Ávila, Ricardo Nuno Espínola de. „Estágio no âmbito do Programa Erasmus na Academy of Performing Arts (Bratislava)“. Master's thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/16325.
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O teatro de marionetas é uma arte com características próprias. Não deve ser tido por imitação do teatro de actor ou entretenimento para crianças. Eis porque certos requisitos são incontornáveis, independentemente do tipo de espectáculo, tradicional ou contemporâneo, do público a que se destina, da dimensão (pequena ou grande produção). São eles, principalmente, um período de experimentação livre do material e a prevalência de uma narrativa visual sobre o diálogo verbal. O presente relatório discute estas questões, entre outras, conforme analisa uma criação marionetística em contexto académico de nível superior. Enquadrando-o na experiência mais vasta que constituiu o estágio, procura descrever o conjunto de razões pelas quais o objecto se foi alienando de uma estética marionetística, ao ponto de se converter, na melhor das hipóteses, num “teatro com marionetas”; ABSTRACT: Puppetry is an art in itself. It shouldn’t be regarded as an imitation of actors theatre or entertainment for children. Therefore, some requisites for a puppet creation are mandatory, regardless of the kind of show, traditional or contemporary, public to whom it’s intended, whether it’s a big or small production. Those criteria are mainly the arrangement of a time-period for freely exploring material and the predominance of a visual narrative, rather than dialogue. This report discusses these among others issues as it analyses a puppet creation by students of a BA Course on Puppet-acting. Giving notice of the overall experience, it tries to describe the reasons behind the gradual loss of puppetry aesthetics throughout the creation, reaching a point where, at best, the intend puppet theatre becomes, at best, a “theatre with puppets”.
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Keartipong, Meepiarn McCarthy John R. „Thai police cadet perceptions of effective teaching characteristics of instructors in the Royal Thai Police Cadet Academy of Thailand“. Normal, Ill. Illinois State University, 1995. http://wwwlib.umi.com/cr/ilstu/fullcit?p9604377.
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Thesis (Ph. D.)--Illinois State University, 1995.Title from title page screen, viewed April 24, 2006. Dissertation Committee: John R. McCarthy (chair), Larry D. Kennedy, David L. Tucker, Lemuel W. Watson, Frank T. Morn. Includes bibliographical references (leaves 85-90) and abstract. Also available in print.
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Chayakul, Chaisri, und not supplied. „An Investigation of the Influence on the Teaching and Learning of English in the Royal Thai Air Force Academy“. RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080206.102937.
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This research investigates the influences on the teaching and learning of English in the Royal Thai Air Force Academy (RTAFA). In the study, a Mixed Methods design, incorporating both quantitative and qualitative research design features, was employed within a Case Study approach. Questionnaires and interviews were used as research techniques to examine and identify what constitute the influences on the teaching and learning of English in the RTAFA and the factors that affect the limitation of the English proficiency of the RTAFA graduates. The quantitative methods included a pilot questionnaire for cadets (N = 35), questionnaires for every Year level of cadets in training (N = 517) and questionnaires for the English instructors (N = 9). The Quest software program (Adams & Khoo, 1993) was applied to analyse the questionnaires and group means and standard deviations were used to calculate effect sizes between students of different Year levels. In relation to the student questionnaire, some category items were also examined and analysed separately. In relation to the qualitative analysis, semistructured interviews with a small number of the RTAFA cadets in all five years of training (N = 25), the English instructors (N = 9) and the senior administrators of the RTAFA (N = 4) were conducted to complement and triangulate the data gathered from the questionnaires. The results from the questionnaires and interviews suggest that the English curriculum influenced the teaching and learning of English in the RTAFA, followed by issues in relation to cadets' attitudes and motivations for studying English and cadets' English educational background. Factors that affected the limitation of the English proficiency of the RTAFA graduates were a lack of realization by the cadets of the importance of English, the very structure of the English curriculum and the content of the English syllabus, the perceived low status of English as evidenced by the lack of academic credits given to the subject, the poor facilities of the language laboratories, the perceived lack of current teaching methods and techniques of the instructors, the varying experiences of the cadets' background knowledge of English, the rigid military system and the need for more native speaking English instructors to develop the oral language skills of cadets. Based on the findings of all the data, suggested recommendations for improving the teaching and learning of English in the RTAFA include a revision of the English curriculum, an improvement of the content of English with an emphasis on listening, speaking and conversation skills, an update of the English language laboratories, smaller English classes and a constant professional development for instructors in relation to techniques in English teaching and learning.
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Blaney, Gerald W. „Nicolas Poussin, Charles Le Brun and the Royal Academy of Painting and Sculpture, Paris 1648, a kinship of aesthetics“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50497.pdf.
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Costa, Leila Ortiz Tavares. „Comunicação plurimidiática ou comunicação de massa? as metáforas coloniais na divulgação da Royal Academy of Dance (RAD) no Brasil“. Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4351.
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The Royal Academy of Dance (RAD) produces multimedia material to disseminate itself all over the world. The Brazil gets a part where RAD is in action. This multimedia material puts together websites www.rad.co.uk, www.radacadabra.org, www.benesh.org, www.geneeballetcompetition.com, www.youngdances.org.uk end www.royalacademyofdance.com.br, CDs, DVDs, the Dance Gazette magazine (three edition in each year), Diary (four edition in each year), the syllabus of RAD (1991) and the books: The Foundation of Classical Ballet Technique (1997), Body Basic (1991) and Music in Dance Studio (1993) and some informative. It is purposing to study that complete multimedia material who the RAD uses to disseminate itself in the Brazil, this research make use of HP methodology hermeneutic of depth (THOMPSON, 2009) to analyse these different medias into the symbolic issues of production and reception from structural context. The aim is to demonstrate powerful potential contamination that RAD organized by your multimedia option giving emphasis in the other kind of media, not explicitly included in the multimedia material: the teacher of RAD. Proposing the teacher of RAD like a bodymedia (KATZ &GREINER, 2001, 2005, 2010) who disseminates the same information like the others medias giving effectiveness exponential for them into dissemination. Understanding the reception like a creative action, here is the reflection about teacher of RAD like a communication mechanism of power that gives potential to stabilize into students bodies asymmetric relation of power. The hypothesis is the teacher of RAD mediates specific knowledge (in the way of English to dance) that legitimizes structural of social class from neo-liberalism. How it despises the relation body-environment without getting the flow exchange of information who body is characterized (KATZ & GREINER), and getting communication model inputprocessing- output the teacher of RAD is like actuator of inputs that produces genuine in the way of English to dance without local construction potential of body (SANTOS, 2006). From this design, the research proposes coexistence between practical movement of both, teacher and student, guide by reflection that the teacher of RAD puts in motion colonial action when doesn t proposing exchange with environment (SANTOS, 2010; CANCLINI, 2007; HALL, 1997) and, in this action that operates the imposition to become yourself potential operator of biopolitcs
A Royal Academy of Dance (RAD) produz um material plurimidiático para difundirse em todo o mundo. O Brasil faz parte do mundo onde a RAD atua. Esse material plurimidiático reúne seis sites ( www.rad.co.uk, www.radacadabra.org, www.benesh.org, www.geneeballetcompetition.com, www.youngdances.org.uk e www.royalacademyofdance.com.br) CDs, DVDs, uma revista com três edições no ano (Dance Gazette), um informativo com quatro edições ao ano (Diary), e livros (Syllabus 1991; The Foundations of Classical Ballet Technique, 1997; Body Basic ,1991; e Music in the Dance Studio, 1993), além de informativos esporádicos. Objetivando estudar esse conjunto diverso de mídias que a RAD emprega para a sua divulgação no Brasil, esta pesquisa aplica a metodologia de HP hermenêutica de profundidade (THOMPSON, 2009) para analisar estas diferentes mídias nos seus aspectos de produção e recepção simbólica, com enfoque de contexto estrutural. Tem como objetivo demonstrar o poderoso potencial de contaminação que a RAD organizou com a sua opção plurimidiática, dando ênfase a um outro tipo de mídia, não incluído explicitamente entre os materiais distribuídos. A pesquisa foca no professor, propondo-o como um corpomídia (KATZ & GREINER, 2001, 2005, 2010) das mesmas informações divulgadas nas outras mídias, mas com uma eficiência exponencial na sua transmissão. Entendendo a recepção como uma ação criativa, aqui se propõe a reflexão sobre o corpo do professor da RAD como um dispositivo de comunicação (FOUCAULT, 2009) que potencializa a estabilização de relações assimétricas de poder no corpo-aluno. A hipótese é a de que o corpo do professor media um saber (o modo inglês de se dançar) que legitima a estrutura de classes do neo-liberalismo. Na medida em que despreza a relação corpoambiente, sem levar em conta o fluxo inestancável de troca que o caracteriza (KATZ & GREINER), e adota o modelo de comunicação do input-processamento-output, o corpoprofessor da RAD se apresenta como o acionador dos inputs que produzirão o legítimo modo inglês de dançar, ignorando a potencialidade corporal localmente construída (SANTOS, 2006). A partir dessa configuração, a pesquisa propõe a necessidade de coexistência entre as práticas de movimentos corporais do professor e dos alunos, norteada pela reflexão de que a ação desse corpo do professor se configura como colonial quando não se propõe a trocar com o ambiente (SANTOS, 2010; CANCLINI, 2007; HALL, 1997) e, nessa ação impositiva, se inscreve como operador potente na biopolítica (AGAMBEN, 2009)
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Lemperle, Shandy April. „Kings and Courtesans: A Study of the Pictorial Representation of French Royal Mistresses“. The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05302008-103549/.
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This thesis explores the development in the pictorial representation of four important French royal mistresses. It looks at works depicting Agnès Sorel, mistress to Charles VII; Diane de Poitiers, mistress to Henri II; Gabrielle dEstrées, mistress to Henri IV; and Madame de Pompadour, mistress to Louis XV. By placing the portrayals of these women within a historical context, it becomes apparent that there are links between the strength of the crown and the depictions of the mistresses. This thesis traces the development of the imagery associated with these women and demonstrates that as the crown became more and more powerful, the portraits of the kings mistresses became bolder and less disguised.
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Orr, Beverly A. „The sculptural program of the royal collegiate church of San Isidoro in Leon /“. The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487587604132663.
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Öhrner, Annika. „Barbro Östlihn och New York : Konstens rum och möjligheter“. Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-111260.
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The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework.
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Cunliffe-Charlesworth, Hilary. „The Royal College of Art : its influence on education, art and design 1900-1950“. Thesis, Sheffield Hallam University, 1991. http://shura.shu.ac.uk/3144/.
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The Royal College of Art is considered through its teaching of art and design, and its work as a centre for the training of art teachers. The ideas of some of the staff are evaluated with regard to the need for art and design education. The influence of the diplomates of the College on the areas of education, art and design is appraised with a view to assessing the value of the work of the College. The relevance of government bodies to the Royal College of Art is examined in some detail, notably the Board and Ministry of Education, the Board of Trade and the Treasury. The relationship between the Civil Servants and the College Principals, Visitors and College Council are considered. The extent to which the College was prevented from achieving its original aims and objectives is explored. This is appraised together with examples of criticism the College received from government circles and external bodies. How such criticism was adapted for future educational policy at the College is also noted. When the Royal College of Art obtained independence from the Ministry of Education the College established its status as a post-graduate institution and was able to address the requirements of modern design education. The Appendices provide details of the Royal College of Art's chronology of events, statistical information and summarised results of a questionnaire given to ex-students.
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Tong, Yee-hang Arthur. „A zigzag bridge : a Chinese garden concept for linkage : an Art Academy in an urban environment /“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25952730.
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Bophary, Va Manop Wisuttipat. „Pithi Sampeah Kru Phleng Mahori at the Royal University of Fine Arts, Cambodia /“. Abstract, 2008. http://mulinet3.li.mahidol.ac.th/thesis/2551/cd414/4837960.pdf.
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Kerr, Deborah Mary. „John Everett Millais's Christ in the house of his parents : a Pre-Raphaelite religious image in the Royal Academy Exhibition of 1850“. Thesis, University of British Columbia, 1986. http://hdl.handle.net/2429/26546.
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In 1850, John Everett Millais showed an untitled depiction of the Holy Family in London's Royal Academy Exhibition. This investigation focusses upon Millais's work, which was subsequently titled Christ in the House of his Parents, and upon the largely negative response of the ten journals which reviewed it.
Millais belonged to a group called the Pre-Raphaelite Brotherhood, which, discontented with the idealized High Renaissance style favoured by the Academy, attempted to create a new form of art. Central to this endeavour, and characteristic of Christ in the House of his Parents, was a medievalizing style and a minutely detailed naturalism.
It is most likely that Millais hoped his work would be well-received, since both medievalism and naturalism were already established in the English art world. Naturalism appealed mainly to middle-class art patrons, and medievalism, too, had found a public.
Where Millais did deviate from the norm was in combining naturalism and medievalism with religious subject matter, and here he made a crucial error, insofar as pleasing his public was concerned. While dissatisfaction with Academic art was widespread, particularly among the middle classes, this was superseded, when religious imagery was involved, by a firm loyalty to Academic idealizing conventions.
As a result, Millais's particularized figures were perceived as ugly, and some journals even linked them with the urban poor. Ultimately, this response was tied to their fear of the poor, and to their rejection of the liberal haute bourgeois philosophy which had originally shaped the Poor Laws, in 1834.
Millais's medievalism was widely held to be antithetical to progress. Critics from all positions on the class and political spectrum hastened to assert their belief in progress, whether in the arts or in the sciences, and to castigate Millais for the apparent retrogressiveness of his picture.
Only one journal, The Guardian, departed from the above pattern and expressed approval for the work. Significantly, it did not equate medievalism with retrogression, and it had no fear of the poor to be activated by Millais's particularized figures. Nonetheless, it experienced difficulty with the painting's naturalism, since, like the hostile periodicals, it too subscribed to the idealizing conventions of the Academy.
Ironically, it was only when Millais finally abandoned his medievalism, and avoided religious subject matter entirely, that he began to experience some of the critical and popular acclaim which he evidently hoped would be accorded to Christ in the House of his Parents.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Wilks, Timothy Victor. „The court culture of Prince Henry and his circle 1603-1613“. Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253274.
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Larsson, Esbjörn. „Från adlig uppfostran till borgerlig utbildning : Kungl. krigsakademien mellan åren 1792 och 1866 = From upbringing to education : the Swedish Royal War Academy, 1792 to 1866 /“. Uppsala : Acta Universitatis Upsaliensis : Uppsala University Library [distributör], 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-6145.
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Tong, Yee-hang Arthur, und 唐以恆. „A zigzag bridge: a Chinese garden concept forlinkage : an Art Academy in an urban environment“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31984824.
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Grant, Mary Lynnette. „Impact of the Kindergarten Teacher Reading Academy on the instructional practices of kindergarten teachers“. Diss., Mississippi State : Mississippi State University, 2005. http://library.msstate.edu/etd/show.asp?etd=etd-04132005-163535.
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Barrett, Erin Gabrielle. „Art and the construction of early medieval queenship : the iconography of the join royal/imperial portrait and the visual representation of the ruler's consort“. Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244685.
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Decker, Ryan M. „Story & Style: Pursuing Excellence on the Academic Stage“. ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/td/2518.
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The following thesis is a brief view of the 2017-2018 production of Marco Ramirez’s contemporary play The Royale, as produced by Theatre UNO, the theatre production arm of the University of New Orleans’ Department of Film & Theatre. This thesis will include initial responses, analysis, interpretation, production synthesis and communication, and reflection with conclusions on performance, directing, and pedagogy in academic theatre. This thesis is supported by documentation of the production process, including a scored script. The play was performed in New Orleans, Louisiana at the University of New Orleans Performing Arts Center’s Robert E. Nims Theatre, November 9-19, 2017; the University of New Orleans Performing Arts Center’s Soundstage, February 17, 2018; and in San Angelo, Texas at the Angelo State University’s Auditorium Theater, twice on March 2, 2018, as part of the Kennedy Center American College Theatre Festival, Region VI (KCACTF VI).
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Riley, Tunisia L. „From the academy to the streets : documenting the healing power of black feminist creative expression“. [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0002935.
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Leikas, Nette, und Kamila Szkwarek. „Trust in influencer marketing A qualitative study on audience reception of Royal Design advertising“. Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22613.
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The aim of this thesis is to investigate whether there is a trust between social media influencers and their followers, and if so, to what extent. The methodological approach consists of an analysis of interview material, expert interviews and selected comment boxes on social media. By conducting qualitative analysis, this thesis examines audience reception to promotional content produced by social media influencers in collaboration with the Swedish interior design brand Royal Design. Based on the theories of parasocial interaction, two-step flow and opinion leadership, and modes of reception, concepts such as audience advertising response, relationship to influencers and the level of trust are investigated and concluded in order to find common patterns around audience reception to influencer marketing. The analysis shows that there is indeed a certain amount of trust towards social media influencers among the sample group especially if they recognise the influencer, however, the trust is not full and unconditional. The audience reception of influencer marketing content both in the interviews and comment boxes was mostly positive, and some respondents seemed to have developed sympathy towards social media personas featured in the advertisements, praising them for being personal and authentic. The results of the study imply that while the credibility and motives of influencer content are questioned by some, it is generally perceived as a more enjoyable alternative to traditional advertising formats.