Dissertations / Theses on the topic 'Art, Australian 19th century'
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1
Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.
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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
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Gardos, Amy. "The historical archaeology of the Old Farm on Strawberry Hill : a rural estate 1827-1889, Albany, Western Australia." University of Western Australia. Archaeology Discipline Group, 2004. http://theses.library.uwa.edu.au/adt-WU2005.0032.
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This thesis presents the results of historical archaeological research at the Old Farm on Strawberry Hill in Albany, Western Australia. The site is an important colonial farm in Western Australia’s history; the location for the first farm in Western Australia (1827) and linked to many important individuals in the state’s colonial past. The site is owned and managed by the National Trust of Australia (W.A.) and is registered on both the West Australian, Heritage Council Register of Historical Places and the Australian Heritage Commission’s National Estate. Past historical and cultural biases had created an incomplete interpretation of this site that did not represent all social groups, including indentured servants, convict and Aboriginal labourers and women. The research has provided a holistic site interpretation that identified all social groups living and working on this site in the 1800s by analysing historical documents and archaeological excavated materials. The historical documentary record included both personal and official correspondence, diaries and drawings, as well as two valuable farm log books that documented the day to day events on the farm in the early to mid 1800s. The archaeological excavation was restricted to small area excavations in habitation areas still present on the site or in areas identified from 19th century surveyor maps. Both of these data sources were analysed to identify social and economic relationships, such as gender, status, class and ethnicity so that a comparison could be made between historical and archaeological data and a complementary interpretation created. The research was divided into three main periods of site occupation, firstly by convict gardeners during the government farm period from 1827 to 1832. The Spencer family period from 1833 to 1889, which is further defined by two phases, the six years from their arrival until Richard Spencer’s death in 1839 and the dispersal of the family and the property decline until it was sold in 1889. The third period of occupation by the Bird family was not discussed due to the discontinuation of a farming subsistence that distinguished it from a rural rather than an urban property. This study provides the current heritage managers with an updated interpretation of the site’s past and changing social and economic relationships on site and with the early town of Albany. It is hoped that this interpretation will be used to improve the site’s current representation and becomes the basis for a heritage conservation plan which not only recognises the importance of existing site structures, but also sub surface remains. This thesis also identifies a number of avenues for future research that will further enhance the site’s interpretation.
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Welch, Ian, and iwe97581@bigpond net au. "Alien Son : The life and times of Cheok Hong Cheong, (Zhang Zhuoxiong) 1851-1928." The Australian National University. Research School of Pacific and Asian Studies, 2003. http://thesis.anu.edu.au./public/adt-ANU20051108.111252.
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This thesis contributes to the ongoing discussion of modern Chinese identity by pro-viding a case study of Cheok Hong CHEONG. It necessarily considers Australian atti-tudes towards the Chinese during the 19th century, not least the White Australia Pol-icy. The emergence of that discriminatory immigration policy over the second half of the 19th century until its national implementation in 1901 provides the background to the thesis. Cheong was the leading figure among Chinese-Australian Christians and a prominent figure in the Australian Chinese community and the thesis seeks to iden-tify a man whose contribution has largely been shadowy in other studies or, more commonly, overlooked by the parochialism of colony/state emphasis in many histo-ries of Australia. His role in the Christian church fills a space in Victorian religious history.
Although Cheong accumulated great wealth he was not part of the Chinese mer-chant class of the huagong/huaquiao traditions of the overseas Chinese diaspora of the 19th and 20th centuries. His wealth was accumulated through property investments following the spectacular collapse of the Victorian banking system during the 1890s. His community leadership role arose through his position in the Christian Church rather than, as was generally the case, through business. His English language skills, resulting from his church association, were the key to his role as a Chinese community spokesman.¶
Cheok Hong Cheong left an archive of some 800 documents in the English lan-guage covering the major people, incidents and concerns of his life and times. His Let-terbooks, together with the archives of the various Christian missions to the Chinese in Australia in the 19th and early 20th centuries, shed light on one person’s life and more broadly, through his involvements on the complex relationships of Chinese emigrants, with the often unsympathetic majority of Australians.¶
This is a case study of a Chinese identity formed outside China and influenced by a wider set of cultural influences than any other Chinese-Australian of his time —an identity that justifies the description of him as an ‘Alien Son’. Cheong’s story is a con-tribution to the urban and family history of an important ethnic sub-group within the wider immigrant history of Australia.¶
While Cheong remained a Chinese subject his identification with Australia cannot be questioned. All his children were born in Australia and he left just twice after his arrival in 1863. He visited England in 1891-2 and in 1906 he briefly visited China. Identity and culture issues are growing in importance as part of the revived relation-ship between the Chinese of the diaspora and the economic renewal of the People’s Republic of China and this thesis is offers a contribution to that discussion.
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Taylor, John J. "Joseph John Talbot Hobbs (1864-1938) : and his Australian-English architecture." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2010. http://theses.library.uwa.edu.au/adt-WU2010.0100.
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Architect and soldier Sir J.J. Talbot Hobbs was born on 24 August 1864 in London. After migrating from England to Western Australia in the late 1880s, Hobbs designed many buildings that were constructed in Perth, Fremantle, and regional areas of the State. Although Talbot Hobbs has previously been recognised as a significant and influential contributor to architecture in Australia, his development as an architect has not been documented, nor has his design output undergone critical analysis. A number of problems confront attempts to interpret Hobbs' contribution to architecture. One is that a number of his most prominent building designs have been demolished. Another is that national recognition for his achievements as a First World War Army General have overshadowed his extraordinarily productive pre and post-war career as an architect. Military service was intrinsic to his character, and thus is woven in to this architectural biography. The thesis examines Hobbs' life and work, filling the gap in documented evidence of his contributions, and fitting it within the context of Australian architectural and social history. The main proposition to be tested is whether Hobbs' Australian architecture, of English derivation, combined with vast community service, warrants his recognition as an architect and citizen of national significance. Completely new important issues, information, discussion and facts that have resulted from the research for this thesis are: 1. Biographical knowledge about Hobbs' life including his upbringing, education and training in England, and his fifty years of comprehensive work and community service in and for Australia; 2. The elucidation of the late nineteenth and early twentieth century architectural issues that were relevant to Hobbs and other architects in Western Australia; 3. Examination of the important works of Hobbs' architect predecessors and contemporaries in Perth, and the setting of his own work within this context; 4. Revelation of his primary and pivotal role in war memorial design and organisational work for the far-flung theatres of Australian Army conflicts and selected personal design works within Australia itself during 1919-38; and 5. A chronology and summary of Hobbs' life, with thorough documentation of his output as a sole practitioner in the period 1887-1904 by development of a detailed web-based database - an extremely valuable tool for future researchers.
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Clarke, Patricia, and n/a. "Life Lines to Life Stories: Some Publications About Women in Nineteenth-Century Australia." Griffith University. School of Arts, Media and Culture, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040719.150756.
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This thesis consists of an introduction and six of my books, published between 1985 and 1999, on aspects of the history of women in nineteenth-century Australia. The books are The Governesses: Letters from the Colonies 1862-1882 (1985); A Colonial Woman: The Life and Times of Mary Braidwood Mowle 1827-1857 (1986); Pen Portraits: Women Writers and Journalists in Nineteenth Century Australia (1988); Pioneer Writer: The Life of Louisa Atkinson, Novelist, Journalist, Naturalist (1990); Tasma: The Life of Jessie Couvreur (1994); and Rosa! Rosa! A Life of Rosa Praed, Novelist and Spiritualist (1999). At the time they were published each of these books either dealt with a new subject or presented a new approach to a subject. Collectively they represent a body of work that has expanded knowledge of women's lives and writing in nineteenth-century Australia. Although not consciously planned as a sequence at the outset, these books developed as a result of the influence on my thinking of the themes that emerged in Australian social and cultural historical writing during this period. The books also represent a development in my own work from the earlier more documentary-based books on letters and diaries to the interpretive challenge of biographical writing and the weaving of private lives with public achievements. These books make up a cohesive, cumulative body of work. Individually and as a whole, they make an original contribution to knowledge of the lives and achievements of women in nineteenth-century Australia. They received critical praise at the time of publication and have led to renewed interest and further research on the subjects they cover. My own knowledge and expertise has developed as a result of researching and writing them. The Governesses was not only the first full-length study of a particular group of letters but it also documented aspects of the lives of governesses in Australia, a little researched subject to that time. A Colonial Woman, based on a previously unpublished and virtually unknown diary, pointed to the importance of 'ordinary' lives in presenting an enriched view of the past. Pen Portraits documented the early history of women journalists in Australia, a previously neglected subject. Three of the women I included in Pen Portraits, Louisa Atkinson, Tasma and Rosa Praed, the first two of whom were pioneer women journalists as well as novelists, became the subjects of my full-length biographies. In my biographies of women writers, Pioneer Writer, Tasma, and Rosa! Rosa!, I recorded and interpreted the lives of these important writers placing them in the context of Australian cultural history as women who negotiated gender barriers and recorded this world in their fiction. My books on Louisa Atkinson and Tasma were the first full-length biographies of these significant but largely forgotten nineteenth-century women writers, while my biography of Rosa Praed was the first for more than fifty years. Each introduced original research that changed perceptions of the women's lives and consequently of attitudes to their creative work. Each provided information essential for further research on their historical significance and literary achievements. Each involved extensive research that led to informed interpretation allowing insightful surmises essential to quality biography.
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Bloom, Kelly. "Orientalism in French 19th Century Art." Thesis, Boston College, 2004. http://hdl.handle.net/2345/477.
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Thesis advisor: Jeffery HoweThe Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Fine Arts
Discipline: College Honors Program
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Hart, Susan. "Widowhood and remarriage in colonial Australia." University of Western Australia. School of Humanities, 2009. http://theses.library.uwa.edu.au/adt-WU2010.0023.
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Widowhood and remarriage affected a majority of people in colonial Australia, yet historians have given them scant attention. Today, widowhood primarily concerns the elderly, but in the mid-nineteenth century a considerable proportion of deaths were amongst young adults. Thus many widows and widowers had children to care for, who were also affected by the loss of a parent and the possible remarriage of their surviving parent. Extended families might be called on for support, while communities, at the local and government level, were confronted with the need to provide welfare for the widowed and orphaned, including the older widowed. This thesis considers how widowhood impacted on men and women at all levels of society in the nineteenth-century Australian colonies, especially Western Australia and Victoria, taking into account the effects of age, class and numbers of children of the widowed. When men were the chief family earners and women were dependent child bearers the effects of widowhood could be disastrous, and widows had to employ a range of strategies to support themselves and their families. Men too were affected by widowhood, for the loss of a wifes housekeeping skills could cause serious financial consequences. One response to widowhood was remarriage, and the thesis discusses the advantages and disadvantages of remarriage for men and women. Historians have regarded remarriage as the best option for the widowed, especially for women. Research into remarriage, especially in Britain and Europe, has focussed on demography. Assuming that all widowed wished to remarry, demographers have compared remarriage rates for men and women, within the context of the relative numbers of marriageable men and women in a given community.
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Van, der Hoek Jessica. "The faithful and/or flattering in 19th Century portraiture." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13996.
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The nineteenth century's creation of different optical devices such as the camera obscura, the kaleidoscope and the thaumatrope signifies a change in the perception of vision at the time. The aim of this dissertation is to examine the work of four artists with reference to nineteenth century concerns surrounding vision. The scope for this examination is limited to the painted portraiture of Dante Gabriel Rossetti and John Singer Sargent and photographic portraiture of Julia Margaret Cameron and Félix Nadar Tournachon. Rossetti and Cameron represent two Victorian artists whose vision is turned inward to the imagination, with feelings of nostalgia and sentimentalism evoked in their portraits. This dissertation argues that the act of turning the eye inwards to the imagination is at the root of the flattering quality of these two artists' portraits. A further argument is that the sustained use of literary reference is the catalyst to the inward vision seen in these two Victorian artists' work. I examine Dante Gabriel Rossetti‟s later phase of idealised and "flattering" portraits of women in relation to the sonnets that Rossetti began to physically attach to either the frame or canvas of the portrait. The use of literary reference as catalyst to the inward vision is discussed namely through Julia Margaret Cameron‟s photographic portraits based on Alfred, Lord Tennyson's Enoch Arden. Cameron's allegorical and often mythological portraits of women are then analysed in order to establish the "flattering" quality of her portraits. With regards to the two artists who have been termed "faithful", an examination of their more outward vision and focus on the exterior realities is discussed. An exposition surrounding Félix Nadar Tournachon's "faithful" photographic portraits of nineteenth-century celebrities follows the discussion on Cameron. In order to further enquire into the notion of nineteenthcentury celebrities, an examination of John Singer Sargent follows. With the idea of Sargent being torn between the faithful and the flattering, I examine his more faithful Portrait of Madame X in relation to his later flattering celebrity portraits painted in the Grand Manner. In conclusion it will be suggested that Victorian and French ideas of vision and representation differed, exemplified by these four artists. These two very different perceptions of vision, one inward and the other outward, is the root of my distinction between the "faithful" and the "flattering" as manifested in portraiture.
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Kent, Neil. "Light and nature in late 19th century nordic art and literature /." Uppsala : Universitätet, 1990. http://catalogue.bnf.fr/ark:/12148/cb35408280q.
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Mckenna, Eugene. "The influence of ecclesiastical and community cultures on the development of Catholic education in Western Australia, 1846-1890." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070326.142406.
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Historians have generally tended to represent the pioneering Catholic mission in Western
Australia as an homogenous ecclesiastical entity with little cultural diversity. With a few notable
exceptions the nature of the Western Australian colonial Catholic mission is portrayed as a
'hibernised' form of Catholicism with an Irish clergy taking care of the pastoral needs of a
predominantly working class Irish Catholic constituency. This thesis challenges the traditional
paradigm as restrictive, and argues that it ignores significant contextual influences and veils the
wider cultural tapestry in which the Western Australian pioneering Catholic mission proceeded.
The traditional analysis of the internal dynamics of the Catholic mission implies that there
was a beneficial, almost symbiotic relationship between sympathetic bishops and their 'valiant
helpers.' Internal conflicts concerning administrative issues have been represented as little more
than mere personality clashes.
The thesis takes a more critical contextual approach and argues that the manifestation of
internal dissension during this period can only be fully explained by taking account of external
influences rather than local conditions. These influences include both Gallican and Ultramontane
ecclesiastical perspectives as well as the individual community cultures that were transported
from Europe to the Perth diocese by missionary personnel.
This new perspective corrects the more traditional approach which overlooked the different
ecclesiastical approaches, orientations and community cultures that were represented within the
colonial Catholic mission. This expansion of the existing interpretative paradigm through which
historians view the West Australian Catholic mission in general and the development of the
school system in particular marks a significant shifi in the existing historiography. As a
consequence, scholars will in future take a more critical approach to the study of not only the
Catholic education system but also the Western Australian Catholic mission in general. Rather
than representing the definitive closing chapter it is intended that this work will invigorate
renewed historical interest in the development of the Australian Catholic mission.
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Wong, Mei-kin Maggie, and 黃美堅. "Collecting and picturing the orient: China's impact on nineteenth-century European Art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2954452X.
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Hoeffler, Michelle Leah. "The moment of William Ralph Emerson's Art Club in Boston's art culture." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67166.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.Includes bibliographical references (p. 183-225).
This thesis will analyze the architect William Ralph Emerson's (1833-1917) Boston Art Club building (1881-82) and its station within Boston and New York's art culture. Even though there has been considerable research on the Gilded Age in general and certain art clubs specifically, this club remains a neglected element in art's social history. During the rising development of art culture, a small group of artists founded the Boston Art Club (1854-1950) as a vehicle for production, education and promotion of the arts. To assert their club's presence within patrons' circles, the members commissioned a flagship clubhouse adjacent to Art Square (now known as Copley Square). Emerson, primarily a residential architect and the first Shingle Style architect, won the competition with a unique amalgamation of Queen Anne and Richardson Romanesque styles, an alliance with the nearby Museum of Fine Arts and the Ruskin and the English Pre-Raphaelites. The resultant clubhouse was a declaration of the club's presence amid America's established art culture. Through this building design the Club asserted its status for the thirty years that the arts prevailed on Boston's Art Square. The Art Club's reign, along with the building's prominence, ended when the Museum deemed their building's architectural style out of date, among other reasons. That faithful decision to abandon Art Square and the revival Ruskinian Gothic style would take with it the reverence for the Art Club's building and, eventually, the club itself. Within forty years and through several other struggles the Art Club closed its doors, ending a chapter that began with the need for art in Boston, thrived within the culture of the Gilded Age and sank from the changing trends in architecture.
by Michelle Leah Hoeffler.
S.M.
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Smith, Katherine. "Continuity and Change in a 19th Century Illustrated Devi Mahatmya Manuscript From Nepal." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3564.
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In the Hindu tradition of the Indian subcontinent, worship of the goddess has long been practiced as supreme embodiment of the divine. Around the second century, a Sanskrit Purana (ancient Hindu text that extols deities) titled the Markandeya Purana details the battles of the supreme Goddess Durga against the illusions and negative energy in the universe. This textual version of the Devi Mahatmya “Praise of the Goddess” serves as the foundation for the nineteenth century Nepalese illustrated Devi Mahatmya, commissioned by Tej Bahadur Rana from Pokhara district in Nepal. Because the folios closely follow the textual Devi Mahatmya, the illustrations’ amalgamation of styles demonstrates a double entendre of religious and political frameworks represented through Indian religious iconography with localized motifs and styles from Nepal. In this study, I argue that the illustrated Nepalese Devi Mahatmya indicates a shift in power from the Shah aristocracy to Rana oligarchy. This Devi Mahatmya contextualizes the social, religious, and historical events of nineteenth century Nepal, as a unique extension to the current scholarship about the Devi Mahatmya since it is dated and has a known patron.
The intentional amalgamation of previous Newar styles, localized elements, and European décor reveals the mythical being contemporized, that is, drawing from English modernism to empower the Rana family, adding a unique flair to this manuscript as opposed to previous Devi Mahatmyas of Indian Guler or Newar style. Within the nineteenth century Nepali Devi Mahatmya, the background of this Devi Mahatmya is Guler-inspired, utilizing lightly hued backgrounds and landscapes, suggesting that the artist(s) had observed Guler compositions prior to this commission. The Nepali and Newar motifs contextualizes the Devi Mahatmyas commissioning in Pokhara, as these elements comment on the clan patriarch Jung Bahadur Rana and uncle of the patron usurping power from the Shah king, asserting a new Rana oligarchy that would last until 1951. As a result, this Devi Mahatmya is used as an offering to the goddess to legitimize Prime Minister Jung Bahadur Rana and the nephews that would follow his legacy.
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Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.
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Kirkendoll, Ceri Danika, and n/a. "The slab houses of Canberra: A comparative analysis of design, form, and meaning." University of Canberra. Arts & Design, 2004. http://erl.canberra.edu.au./public/adt-AUC20081204.124329.
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This thesis represents the first effort to catalogue extant timber slab houses of 19th century
Canberra and its outlying regions. From an archaeological viewpoint, it looks at slab
houses as above-ground artefacts that possess ingrained information about the culture that
built them and analyses them as material culture through an investigation of their: history,
material, construction, function and design. It is inspired by the work of folk historian,
Henry Glassie, and focuses on form and pattern, through a comparison of floor plans, in
order to understand the needs, minds and behaviours of early Canberrans. The thesis also
draws on the historic documentary record of a similar local group of houses, those resumed
by the Commonwealth in 1912-13.
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Pieri, Giuliana. "The influence of English Pre-Raphaelitism on 19th-century Italian art and literature." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313182.
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Boyd, Jane E. "The mapping of modernity impressionist landscapes, engineering, and transportation imagery in 19th-century France /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 319 p, 2009. http://proquest.umi.com/pqdweb?did=1818417341&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Lawrence, Ranald Andrew Robert. "Cultural climates : the municipal art school and the reformulation of civic identity in Victorian Britain." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709252.
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Bellettiere, Giovanna Marie. "AMERICAN FEMINISM: THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.
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Art HistoryM.A.
This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.
Temple University--Theses
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Mangipano, John. "Remolding Mexican Identity: The Wax Art of Francisco Vargas in 19th Century New Orleans." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1327.
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In December of 1915, the New Orleans Times-Picayune reported on the death of the patriarch of four generations of Mexican wax figure artists whose artworks demonstrated a century of change in the city of New Orleans. The family's artworks included religious sculptures, representations of indigenous and peasant populations of Mexico, and the merchant populations of the French Quarter. Francisco's artworks represented Louisiana's agriculture at two World's Fairs in New Orleans and Buffalo. Francisco received a contract from Mississippi Commissioner R. H. Henry to produce the 30-foot King Cotton for the 1904 Louisiana Purchase International Exposition in St. Louis, Missouri. Though the family's success continued after Francisco's death, an examination into the family's business, artworks, travels, and personal connections during Francisco's lifetime provides a new avenue for exploring the relationship between New Orleans and Mexico in the nineteenth century
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Dudley, Ian A. "Edward Goodall's 'Sketches in British Guiana' : art, anthropography and colonialism in 19th century Amazonia." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20121/.
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This thesis examines sketched portraits of Amerindian peoples created by the English artist Edward Goodall during the 1841-1844 Boundary Survey of British Guiana, now Guyana, which was carried out by the German scientific explorer, Robert Schomburgk. The portraits formed part of a larger body of over 250 drawn and watercolour works labelled as Sketches in British Guiana, and carried out by Goodall in his role as official expedition illustrator. These sketches captured a wide range of geographical subjects, from botany, topography and zoology, to hydrography, geology and historical scenes of the expedition itself, in addition to the ethnographic representations upon which this thesis focuses, and which dominate the body in terms of their numbers and interest. The sketches were carried out in relation to the cartographic and geographical mapping and documenting of the Guayana territory and its peoples by Schomburgk as he moved across the disputed border regions between British Guiana and its neighbouring colonial states, Brazil, Venezuela and Surinam. Focusing on the works as a manifestation of the different subjective forces and ideologies at play within this colonial enterprise, I argue the portraits and Sketches more generally, exemplify art’s cooption as a tool of colonial reconnaissance, expansion and domination during the mid-nineteenth century, playing a key role in visualising the geographical colonization that Schomburgk’s Boundary Survey represented, capturing disputed inhabitants and their locales as they were inscribed onto British colonial maps, and substantiating British imperial claims over them. In essence, through Goodall’s work, Schomburgk sought to cultivate and performatively demonstrate knowledge of and control over Amerindians through their representation, which paralleled the way the Guayana landscape was brought into British guardianship, all under the aegis of Christian humanitarianism, scientific advance and national-imperial prestige.
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White, Claire. "Work and leisure in late nineteenth-century French literature and visual culture." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610774.
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Poueymirou, Margaux Lynn Rosa. "The sixth sense : synaesthesia and British aestheticism, 1860-1900." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/952.
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“The Sixth Sense: Synaesthesia and British Aestheticism 1860-1900” is an interdisciplinary examination of the emergence of synaesthesia conceptually and rhetorically within the ‘art for art’s sake’ movement in mid-to-late Victorian Britain. Chapter One investigates Swinburne’s focal role as both theorist and literary spokesman for the nascent British Aesthetic movement. I argue that Swinburne was the first to practice what Pater meant by ‘aesthetic criticism’ and that synaesthesia played a decisive role in ‘Aestheticising’ critical discourse. Chapter Two examines Whistler’s varied motivations for using synaesthetic metaphor, the way that synaesthesia informed his identity as an aesthete, and the way that critical reactions to his work played a formative role in linking synaesthesia with Aestheticism in the popular imagination of Victorian England. Chapter Three explores Pater’s methods and style as an ‘aesthetic critic.’ Even more than Swinburne, Pater blurred the distinction between criticism and creation. I use ‘synaesthesia’ to contextualise Pater’s theory of “Anders-streben” and to further contribute to our understanding of his infamous musical paradigm as a linguistic ideal, which governed his own approach to critical language. Chapter Four considers Wilde’s decadent redevelopment of synaesthetic metaphor. I use ‘synaesthesia’ to locate Wilde’s style and theory of style within the context of decadence; or, to put it another way, to locate decadence within the context of Wilde. Each chapter examines the highly nuanced claim that art should exist for its own sake and the ways in which artists in the mid-to-late Victorian period attempted to realise this desire on theoretical and rhetorical levels.
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Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.
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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasantry as emblematic of national identity combined with their incorporation into primitivism produces a tension that complicates the conventional, binary structure of the discourse. It is therefore necessary to examine artistic expressions of national myth and the peasantry's absorption into the primitivist discourse, as this indicates a critical point at which issues of nationalism and primitivism converge. In the cultural realm, that juncture is located in the artistic idealisation of peasant cultures, which is indicative of a mythical state of being from which national identity could be rearticulated.The myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.
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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Floyd, McKenzie Allison. "An Examination of Oxidative Passivated Surfaces on 19th Century Colt Revolver Barrels." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/120.
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Scanning electron microscopy (SEM), energy-dispersive X-ray spectroscopy (EDS), and X-ray diffraction (XRD) were used to examine a series of six revolver barrels manufactured by the Colt Patent Arms Manufacturing Company between 1853 and 1863. SEM micrographs revealed a vast range of surface morphologies among the corroded samples. XRD diffraction patterns showed varying levels of magnetite on the blackened samples, but hematite could not be identified. EDS was used to map elemental distribution and quantify elemental abundances on the gun surfaces; further investigation using this technique may reveal more definitive information on whether some elements present were deposited during patination.
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Mueller-Heubach, Oliver Maximilian. "From Kaolin to Claymount: Landscapes of the 19th-Century James River Stoneware Industry." W&M ScholarWorks, 2013. https://scholarworks.wm.edu/etd/1539623630.
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This dissertation will examine the James River stoneware tradition, which encompasses parts of Henrico, Dinwiddie, Prince George, and Charles City Counties, south and east of the Falls of the James at Richmond, Virginia. This area has one of the richest histories in American ceramics. The essential elements of stoneware production will be examined. This dissertation will provide the only comprehensive overview of this regional industry with in depth descriptions of the relevant potteries, potting families and their environment. Detailed description of ceramic forms and decorations specific to individual potters will be provided. The archaeological research done at the potting sites, much of it participated in by the author will be presented. This will allow future attribution and dating of James River stoneware.;Landscapes of the 19th century James River stoneware industry will be explored and the nature of the potters' craft and community will be analyzed within the Meshwork as used by Tim Ingold. Through applications of both structural and semiotic approaches the production, relationships, and landscapes of the potteries will be organized and problematized. An effort will be made to provide as deep and broad a context as possible including social, political, and economic conditions. Archaeological, historical, and oral data will be used to understand the potters' habitus and the roles of artisans, their neighbors, landscapes and artifacts in actively creating that world.
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Hernandez, Jesse. "Senses In Synthesis: Imaginative Sensing In The 19th Century." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/621.
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During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.
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Singley, William Blake. "Recipes for a nation : cookbooks and Australian culture to 1939." Phd thesis, 2013, 2013. http://hdl.handle.net/1885/109392.
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Cookbooks were ubiquitous texts found in almost every Australian home. They played an influential role that extended far beyond their original intended use in the kitchen. They codified culinary and domestic practices thereby also codifying wider cultural practices and were linked to transformations occurring in society at large. This thesis illuminates the many ways in which cookbooks reflected and influenced developments in Australian culture and society from the early colonial period until 1939. Whilst concentrating on culinary texts, this thesis does not primarily focus on food; instead it explores the many different ways that cookbooks can be read to further understand Australian culture in the nineteenth and early twentieth century. Through cookbooks we can chart the attitudes and responses to many of the changes that were occurring in Australian life and society. During a period of dramatic social change cookbooks were a constant and reassuring presence in the home. It was within the home that the foundations of Australian culture were laid. Cookbooks provide a unique perspective on issues such as gender, class, race, education, technology, and most importantly they hold a mirror up to Australia and show us what we thought of ourselves.
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Kirk, Elizabeth Gail. "Neo-orientalism : ugly women and the Parisian avant-garde, 1905-1908." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28091.
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The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context.
My introduction is an investigation of current art historical scholarship which has linked the manipulation of form by Matisse and Picasso and shifting avant-garde practice in Paris in the years 1905 - 1908, when Cubism displaced Fauvism, to the concepts of Orientalism and Primitivism. The problem of the ideological content of images of women, which I undertake to address, arises from these studies which rely upon the assumed metaphysical fascination with the exotic or the intuitive, personal concern for erotic symbolism by the artists as a solution to meaning. The absence of a rich critical discourse surrounding the paintings encourages my approach to the problem of meaning whereby in Chapter One I examine images of women produced in Paris in the specific discourses of popular and official culture in 1906. These representations of the female are identified as ideological constructions which functioned in relation to the important and broader issues of the moment affecting the dominance of French culture: class struggle and neo-colonialism.
In Chapter Two the "ugly" women of Matisse's The Blue Nude (Souvenir of Biskra) and Picasso's Les Demoiselles d'Avignon are analysed as intended avant-garde transformations
of images of female prostitutes and compared with the Images of women In popular and official culture and with each other, In recognition of their function within the historical context of their production. In conclusion I suggest that the difference in meaning between these paintings by Matisse and Picasso was Ideological, operating within the context of class struggle and neo-colonialism, and defined by their distinctive conscious and unconscious use of Primitivism.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Collins, Anne Marie. "Changes in pictorial construction and types of representation which formed the basis of modern art." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1010579.
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The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.
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Gabrielsen, Natalia Marie, and Natalia Marie Gabrielsen. "'Ideal Vehicles': Medallic Circuitry in Nineteenth-Century Portraits of Native Americans." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626399.
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I examine the mobility and circulation of peace medals featured in nineteenth-century portraiture of Native Americans through the lens of object-oriented ontology. This research strives to establish a different perspective for considering nineteenth-century portraiture of Native Americans by situating the works through the framework of materiality and circulation. By applying this approach to a series of portraits of Native Americans with peace medals, my research seeks to define issues of movement and power within the transient, fluctuating space of the nineteenth-century American frontier. To accomplish this, I trace the production and distribution of peace medals within paintings widely viewed at the time, as well as the movement of groups and individuals involved with transporting and receiving the medals. Tracking these objects and their mechanisms of movement within the visual culture of the nineteenth century, indicating not only the thing itself but also its processes of production and movement, reveals a dimension of specificity to pictorial narratives, even as the exhibited artworks promoted generalized ideals regarding Indian policy through their circulation. I follow the peace medals’ logistics of production and transit to underscore issues of value and currency on the American frontier, highlighting the ways in which peace medals and the artwork depicting them participated in narratives of Native displacement.
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Giguere, Joy M. ""The Dead Shall be Raised": The Egyptian Revival and 19th Century American Commemorative Culture." Fogler Library, University of Maine, 2009. http://www.library.umaine.edu/theses/pdf/GiguereJM2009.pdf.
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Gerhold, Emily. "American Beauties: The Cult of the Bosom in Early Republican Art and Society." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/353.
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This interdisciplinary project offers new research to introduce the American cult of the bosom, which emerged in the years following the Revolutionary War and helped shape the discourse around women’s roles in the early republic. The cult of the bosom sought to shift the way in which the female body, and especially the bosom, was regarded and represented by identifying it as the locus of a number of positive qualities associated with women, including virtue, modesty, beauty, and grace. This shift constituted, in the minds of citizens, a significant way in which American culture honored and celebrated women. Additionally, the cult of the bosom tied the bosom’s privileged status to a broader patriotic rhetoric that celebrated the special differences of America’s women and American culture as a whole, and insisted that, while most citizens of the world saw its potential to gratify lust, Americans were sufficiently enlightened to consider and celebrate the bosom’s ‘true’ function as a signifier of sacred womanhood. Through a variety of cultural materials, this project traces the points at which beauty, virtue, femininity, and the female body intersected in the early republic and the implications of these intersections for the political and social status of women. The study consists of five thematic chapters, which address textual foundations for the discourse on the bosom and female modesty in early republican America and examine female portraits of the period in order to identify the visual codes that represented patriotic ideology and signified the bosom.
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Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905." Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.
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Sloan, Johanne. "Millennial landscapes : nature, narrativity, and the legacy of the Paysage Historique in 19th and 20th century art." Thesis, University of Kent, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264600.
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McBriar, Shannon Ross. "Shining through the surface : Washington Allston, Samuel Taylor Coleridge and imitation in romantic art criticism." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:67bc3d1d-ad3f-4e93-b774-5055f1e350b8.
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This thesis has evolved from William Blake's phrase, "Imitation is Criticism" written in the margin of Sir Joshua Reynolds's Discourses on Art. As a concept central to the production and criticism of art, imitation has largely been explored in the philosophical context of aesthetics rather than in terms of its practical application in image-text studies of the Romantic period. It has also traditionally served as a marker for the period designation 'Romantic', which in image-text studies continues to be played out in terms of the transition from imitative to expressive modes of making and response. Yet this notion of periodization has proven problematic in studying the response to 'false criticism' within what Wallace Stevens calls that 'corpus of remarks about painting'. These remarks reveal an important tension within imitation as a way of making something like something else, but also as a means of characterizing the relationships that underpin that resemblance. This tension not only occupies a central place in the concurrent development of art criticism and literary criticism in the period, but also offers a new foundation for the interdisciplinary study of image-text relationships in the period. The thesis is divided into two parts, each guided by the important role that imitation plays in the fight against 'false criticism' with respect to the visual arts. The first part examines the tension within imitation from the standpoint of artists and connoisseurs who expressed concern about the excesses of description in asserting the need for a credible art criticism while at the same time realizing its inevitability. The second part examines the tension within imitation from the standpoint of the American artist Washington Allston and his friend Samuel Taylor Coleridge, both of whom used this tension to advantage in setting forth a lexicon and methodology that could account not only for the 'specific image' described, but also the geometrical and structural relationships that underpin that image.
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M'Kenzie-Hall, James. "Illustrated travel : steel engravings and their use in early 19th century topographical books, with special reference to Henry Fisher & Co." Thesis, Southampton Solent University, 2011. http://ssudl.solent.ac.uk/1801/.
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The aim of this thesis is to investigate the introduction, production and sale of steel engravings in the illustrated picture books of the first half of the nineteenth century with particular reference to the publications of Henry Fisher, who began his career in Liverpool and continued it together with his son Robert in London. By looking at the processes from the initial artist's design through to its engraving and printing, and by establishing the interaction between the artist, author, publisher and engraver, this study will lead to a better understanding of both the economics and aesthetics of print production and determine the destination of these illustrated picture books by examining the relationship between the publisher and the public. Previous work on nineteenth-century topographical steel engraving has largely had a bibliographical rather than historiographical aim and has concentrated on the classification of images into regional units. Although useful these publications are not intended to be critical and do not lead to an understanding of the contextual background necessary to explain the enormous output and consumption of topographical steel-engraved books in the 1830s and 1840s. The two leading specialist topographical print-publishers were the London firms of Fisher, Son & Co. and George Virtue. The early career of Henry Fisher as a master printer of mainly religious publications issued in numbers is examined, and this study shows how his innovative marketing, selling and distribution methods led to these being adopted by others in the publishing trade. His transition from publisher of religious numbers in Liverpool to leading publisher of illustrated topographical works in London is investigated for the first time. As no records, account books or archives appear to have survived, this dissertation is based on the substantial number of illustrated travel books with steel-engraved plates that both firms produced between 1829 and 1844 as well as correspondence from Robert Fisher to the Irish artist George Petrie, in which Fisher explains some of 'the peculiarities of our business'. The two most prolific designers of illustrations for topographical picture books in this period were Thomas Allom (1804-1872) who worked for Fisher, and William Henry Bartlett (1809-1854) who worked for Virtue. Their contribution to the field of topographical book illustration has largely passed unnoticed by art historians who question whether mass produced images can be valued as art. Allom and Bartlett are usually classified as jobbing topographical artists or, at best, as architectural draughtsmen. A secondary aim of this dissertation is to offer a counterbalance to this view and show that their art was more genuinely creative than merely reproductive and moreover that their motives for doing this work were far from being similar.
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Saparoff, Linda W. "Picturing Ireland in England during the Great Famine era : the depiction of Ireland by artists and illustrators, 1842-1854." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21261.
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This thesis examines the pictorial record of the Great Famine Era circa 1842--1854: the engravings, sketches, and paintings found in the English public domain. As part of the historical record, these contemporary visual images document attitudes of prejudice and indifference held about Ireland and the Irish during the calamitous years of the Great Irish Famine. The study probes the broad contextual background, narrative structure, and didactic intent of these works in an effort to assess the prejudicial impact of the visual record as a whole.
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Ignatidou, Artemis. "Four short (hi)stories of a 19th century Greek-European musical interaction, and the cultural outcomes thereof." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/16094.
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The thesis investigates the impact of western art music ('classical') upon the construction of Greek-European identity in the 19th century. Through the examination of institutions such as the Theatre of Athens that hosted the Italian opera for the better part of the 19th century, the Conservatory of Athens (1873), the Conservatory of Thessaloniki (1914), various 19th century literary societies, press content, scores, publications on music, and state regulations on education, the thesis utilizes both musical, as well as extra-musical material to construct a cultural and social history of Greece's understanding of the 'European' in relation to local Greek society through music between 1840 and 1914. At the same time, it highlights the importance of transnational institutional and interpersonal musical networks between Greece and Europe (mainly England, France, and Germany), to demonstrate how political and aesthetic preferences influenced long-term policy, cultural practice, and musical tradition. While examining the 19th century diplomatic, political, and cultural practices of the expanding 19th century Greek Kingdom, the thesis traces the development of western musical taste and practice in Balkan Greece in relation to the local modernizing society. It highlights the importance of local and European artistic agents and networks, identifies the tension between the projection of European identity and raw acoustic divergence, argues for about the contribution of music to the construction of Greek-European identity, and examines the cultural and political negotiations about the conflicting relationship between Byzantine-Hellenic-European-Modern Greek, as expressed through music and debates on music. The last part of the thesis assembles the 19th century material to explain the relationship between nationalism and musical practice at the turn of the 20th century, and as such the long-term influence of western art music upon the construction of Greek-European national identity.
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Oh, Esther. "Exploring the Pedagogical Aspects of Songs by Giacomo Meyerbeer: The Hidden Jewels of 19th-century Song Repertoire." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/378196.
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Music PerformanceD.M.A.
Giacomo Meyerbeer (September 5, 1791-May 2, 1864) was one of the most celebrated composers in the 19th century and the leading exponent of French grand opera. Meyerbeer's operas were immensely popular; for example, his opera Robert le diable was performed 100 times in Paris alone and was featured on the programs of 77 theatres in ten countries, all within three years of its première. Meyerbeer's collaboration with Eugène Scribe, who was the most famous librettist of the century, began with Robert le diable (1831) and their partnership continued for the creation of Les Huguenots (1836), Le prophète (1849), and L'Africaine (1865). Meyerbeer's larger-than-life operas defined the genre of French grand opera. Meyerbeer was a serious, dedicated composer who composed mostly for the stage, but he also wrote sacred music, choral music, instrumental music, and songs. Meyerbeer composed over 50 songs, mostly mélodies and lieder that were translated and published in both German and French. He also composed some Italian canzonette. Meyerbeer's songs are rarely performed in recitals, however, they have originality, beauty, intensity, and theatricality and are worthy to be explored, performed, and cherished. His operas featured unconventional and sensational scenes, tragic love stories set in the middle of the whirlwind of political and religious clash, and bigger-than-life sets to transport his audience to exotic, faraway places. Did Meyerbeer lend the same magical touch to his songs? Was he able to create the same story line of epic portion as he did in his grand operas? My goal is to provide an introduction to the Meyerbeer song repertoire which as a result will encourage more voice teachers, students, and professional performers to incorporate Meyerbeer's outstanding, yet rarely performed songs into their recital programs. In the charts, Meyerbeer's songs are organized by three language groups: Italian, French, and German, and are organized alphabetically by title within each language group. Each chart has eight columns: number; song title; lyricist; year of composition; range; additional available singing translations; difficulty level; and comments. Six songs in total, with two songs from each language group, are chosen and analyzed to explore Meyerbeer’s songs in depth. The selected songs are from various points of Meyerbeer’s career, and are of different levels of difficulties, topics, lengths, and moods.
Temple University--Theses
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Blake, Tamlin. "South African botanical art : a study of nineteenth- and twentieth-century imagery." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52458.
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Thesis (MA)--Stellenbosch University, 2001.ENGLISH ABSTRACT: Botanical art consists of a complex combination of scientific fact and aesthetic awareness, and is concerned with more than the realistic representation of a plant and its flowers. It goes beyond the visual description of scientific information and speaks about the contributions artists have made through history to the conventions of both art and science. It contains a unique visual language, conventions which we read intelligently and an evolved tradition, and it is this language and the development of these conventions within the genre of South African botanical art, which this thesis investigates. In South Africa botanical art developed as a direct result of European interest in the flora and the colonisation of this country by the West. A brief history of responses to South African plants is discussed in the Introduction in order to begin to establish an understanding of this tradition and to contextualise the contributions made by 19th-and 20th -century South African botanical artists. Now that postmodernity has called for the reassessment and questioning of 'given truths', alternative ways of assessing botanical art are slowly evolving. Through study and the comparison of botanical art and artists of South Africa their evaluation as artists is reconsidered. This issue of defining art and artists is the subject of Chapter One of this study. Some of the factors that have a bearing on this include: relationships between text and image; art and science; art and illustration; and how society's expectations of gender roles affect the production of botanical art. In order to establish a context from which to discuss plant imagery in South Africa, it is important to study the history and development of botanical art in this country. Chapter Two discusses the emergence and development of this art form and its artists, starting with a short description of people and events from the 1600s and then takes a comprehensive look at developments in the 19th and 20m centuries. For the artists working within the genre of botanical art, the conventions and inventions are often explicitly formulated. It is an art based on the logic, scrutiny and informative tradition of science, where the main objective is to represent a plant's structural essence. Fundamental to our response to botanical art, however, is the style and technique employed by the artist. Chapter Three is devoted to a detailed discussion of the work of selected contemporary South African botanical art and artists. By comparing their work it is possible to establish trends and developments in representation and the role played by mediums and techniques in this highly skilled art form. Since this research has both a theoretical and a practical component, Chapter Four is devoted to discussion of my own work within the botanical art genre. I describe and illustrate several related series of paintings and explore established conventions and ways of developing my own stylistic identity as a botanical artist.
AFRIKAANSE OPSOMMING: Botaniese kuns bestaan uit 'n komplekse kombinasie van wetenskaplike feite en estetiese bewustheid, en is gemoeid met baie meer as net die realistiese voorstelling van 'n plant en sy blomme. Dit gaan verder as net die blote visuele uitbeelding van wetenskaplike informasie, en behels die bydraes wat kunstenaars deur die geskiedenis tot die konvensies van beide kuns en die wetenskap gemaak het. Botaniese kuns besit 'n unieke visuele taal, konvensies wat intelligent gelees word, en 'n ontwikkelde tradisie. Hierdie tesis ondersoek juis hierdie spesiale taal en ontwikkeling van konvensies binne die genre van Suid-Afrikaanse botaniese kuns. Botaniese kuns in Suid-Afrika het ontwikkel as In direkte gevolg van Europese belangstelling in die flora, en Westerse kolonialisasie van hierdie land. In die Inleidingword daar kortliks gekyk na die geskiedenis van die hantering van Suid-Afrikaanse plante, en het ten doelom eerstens 'n begrip van hierdie tradisie daar te stel, en tweedens om die bydraes van 19de en 20ste eeuse Suid-Afrikaanse botaniese kunstenaars te kontekstualiseer. Sedert Postmodernisme die herevaluering en bevraagtekening van gegewewe waarhede aangewakker het, is die ontwikkeling van alternatiewe maniere van kyk na botaniese kuns stadig besig om plaas te vind. Deur die bestudering en vergelyking van botaniese kuns en kunstenaars van Suid-Afrika, word die botaniese kunstenaar se status as kunstenaar uitgelig. Hierdie kwessie oor die defmieëring van kuns en kunstenaars is die onderwerp van Hoofstuk 1 van hierdie werkstuk. 'n Paar van die faktore wat In invloed op laasgenoemde het, sluit in: verhoudinge tussen beeld en teks; kuns en wetenskap; kuns en illustrasie; en hoe kwessies van geslag soos waargeneem deur die samelewing die produsering van botaniese kuns beïnvloed. Dit is belangrik om die geskiedenis en ontwikkeling van botaniese kuns in Suid-Afrika te bestudeer, sodat daar 'n konteks geskep kan word waarbinne die afbeelding van plante in hierdie land bespreek kan word. Hoofstuk 2 behandel die totstandkoming en ontwikkeling van hierdie kunsvorm en sy kunstenaars, en begin met 'n kort beskrywing van mense en gebeurtenisse van die 1600s wat gevolg word deur 'n uitgebreide kyk na ontwikkelinge gedurende die 19de en 20ste eeue. Vir die kunstenaars wat werk binne die genre van botaniese kuns, is die konvensies en bevindings van die medium dikwels breedvoerig geformuleer. Dit is 'n kunsvorm gebasseer op die logiese, navorsbare en insiggewende tradisie van die wetenskap, waar die hoofdoel die voorstelling van 'n plant se strukturele essensie is. Fundementeel in die benadering tot botaniese kuns is die styl en tegniek wat deur die kunstenaar gebruik word. Hoofstuk 3 word gewy aan 'n gedetailleerde bespreking van die werk van geselekteerde kontemporêre Suid-Afrikaanse bot~iese kuns en kunstenaars. Deur hul werk te vergelyk is dit moontlik om tendense en ontwikkelings in die voorstelling en aanbieding van botaniese kuns te bepaal, en wat die rol van verskillende mediums en tegnieke in hierdie hoogs geskoolde kunsvorm behels. Weens die feit dat hierdie navorsing uit 'n teoretiese en praktiese komponent bestaan, word Hoofstuk 4 gewy aan 'n bespreking van my praktiese werk binne die genre van botaniese kuns. Ek beskryf en illustreer verskeie verwante reekse werke en kyk na bestaande konvensies en die maniere hoe my eie stilistiese identiteit as botaniese kunstenaar kan ontwikkel binne die medium.
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Steyn, Pieter Andrew. "The relationship between the concept 'art' and its institutionalisation during the period 1850-1871 in South Africa." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005626.
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This research evolved as part of a personal struggle to understand my role as 'art' student. As such the essay is concerned with both the theory and practice of 'art', and the relationship between the two. It is, however, my experience of the lack of an analysis of the concept 'art' as a social and historical phenomenon, and the suppression of the politics of culture in most fine art courses, that has led me to concentrate on theoretical and political issues, rather than the formal aspects of painting. This essay is therefore not concerned with individual 'works of art', but with the general category 'art' as an organisational form. Despite its limitations, the essay goes beyond the personal by exploring some of the social, political, economic and cultural processes that form the broader social context in which the examination of 'art' should take place.
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Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
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Couser, Kristie. "Exhibiting Berthe Morisot after the Advent of Feminist Art History." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/484.
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Feminist art historians reassessed French Impressionist Berthe Morisot (1841-1895) throughout the late twentieth and early twenty-first century, a period in which her work coincidentally received steady exposure in major museum exhibitions. This thesis examines how the feminist art historical project intersects with exhibitions that give prominence to Morisot’s work. Critical reviews by Morisot scholars argue that more frequent display of the artist’s work has not correlated to nuanced interpretation. Moreover, prominent feminist scholars and museum theorists maintain that curators virtually exclude their contributions. Attending to these recurrent concerns, this thesis charts shifts in emphases and inquiry in writing centered on Morisot to survey the extent to which curators convey new constructions of her artistic, social, and historical identities. This analysis will observe how distinct exhibition forms—the retrospective, the Impressionism blockbuster, and the gendered “women Impressionists” show—may frame Morisot’s work differently according to their organizing principles.
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Puodžiukienė, Dalė. "Evolution of wooden architecture of manor houses in Lithuania (from the middle of the 16th century till the middle of the 19th century)." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110808_093850-01870.
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Doctoral thesis Evolution of wooden architecture of manor houses in Lithuania (from the middle of 16th century till the middle of 19th century) explore and present an evolution of the wooden architecture of manor houses since the middle of the 16th century till the middle of the 19th century. The thesis investigates the existing and not existing (known from the sources) wooden residential buildings of Lithuanian nobility, identifies their dominant types and reasons, which influenced the change of architecture, and reveals the singularities of the architecture and the relation of a manor’s house with ethnic and professional architecture. The research has shown that the architectural evolution of the manor house owned by nobility of different rank was developing differently. The development of great and middle-class nobility’s manor house was intense, especially influenced by the changes in style architecture. The small noblemen‘s houses were changing a little, their construction followed the ethnic traditions. According to the layout and shape of structures and forms of the buildings set on the manors of great and middle-class nobility, three stages of their architectural evolution were singled out: the period of early formation (till the middle of the 17th century), “baroque” period (from the middle of the 17th century till the seventh decade of the 18th century) and the “classicism” period (from the end of 18th century till the end of the 19th century). The doctoral thesis... [to full text]Disertacijoje nagrinėjami Lietuvos bajorijos mediniai gyvenamieji pastatai, darbe vadinami ponų namais. Darbo tikslas – išaiškinti ir pateikti Lietuvos bajorų namų medinės architektūros raidą nuo Valakų reformos iki 1861 Valstiečių reformos. Darbe tirti esami bei neišlikę (žinomi dėka šaltinių) mediniai bajorijos namai, nustatyti vyravę pastatų tipai, priežastys, lėmusios tipų kaitą, atskleidžiami architektūros ypatumai, ponų namo santykis su etnine ir profesionaliąja architektūra. Tyrimai parodė, kad skirtingų bajorijos sluoksnių ponų namų architektūros raida vyko skirtingai. Stambių ir vidutinių bajorų namų raida buvo intensyvi, ją ypač veikė stilinės architektūros pokyčiai. Smulkių bajorų namai kito mažai, statyboje laikytasi etninių tradicijų. Pagal stambių ir vidutinių bajorų XVI a. vidurio– XIX a. vidurio pastatų planines ir tūrines –erdvines struktūras ir formas, išskirti trys architektūrinės raidos etapai: ankstyvasis- formavimosi (iki XVII a. vidurio), „barokinis“ (XVII a. vidurio – XVIII a. septinto dešimtmečio); „klasicistinis“ (XVIII a. pabaigos – XIX a. vidurio). Pirmajame etape iš esmės pakito gyvenamosios erdvės sankloda ir namo įvaizdis: vietoje kelių skirtingų funkcijų namų, skirtų bajoro šeimai ir jo svečiams (gyvenamojo, pokylių namo, ir kt.) susiformavo vienas daugiafunkcinis, parterinis, simetriškos kompozicijos ponų namas. Antrajame ir trečiajame etapuose daugiafunkcinis ponų namas buvo tobulinamas pagal etiketo (gyvenimo būdo) ir vyravusių stilių... [toliau žr. visą tekstą]
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Mikasa, Princess Akiko of. "Collecting and displaying 'Japan' in Victorian Britain : the case of the British Museum." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669978.
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Wilsey, Shannon K. "Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.
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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.
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Boorn, Alida S. "Interpreting the transnational material culture of the 19th-Century North American Plains Indians: creators, collectors, and collections." Diss., Kansas State University, 2016. http://hdl.handle.net/2097/34472.
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Doctor of PhilosophyDepartment of History
Bonnie Lynn-Sherow
American Indian material culture collections are protected in tribal archives and transnational museums. This dissertation argues that the Plains Indian people and Euroamerican people cross pollinated each other’s material culture. Over the last two hundred years’ interpretations of transnational material culture acculturation of the 19th - Century North American Plains Indians has been interpreted in venues that include arts and crafts, photography, museums, world exhibitions, tourism destinations, entertainments and literature. In this work, exhibit catalogs have been utilized as archives. Many historians recognize that American Indians are vital participants and contributors to United States history. This work includes discussions about North American Indigenous people and others who were creators of material culture and art, the people who collected this material culture and their motives, and the various types of collections that blossomed from material culture and oral history proffering. Creators included Plains Indian women who tanned bison hides and their involvement in crafting the most beautiful art works through their skill in quillwork and beadwork. Plains Indian men were also creators. They recorded the family’s and tribe’s histories in pictograph paintings. Plains Indian storytellers created material that was saved and collected through oral tradition. Euroamerican artists created biographical images of the Plains Indian people that they interacted with. Collections of objects, legends, and art resulted from those who collected the creations made by the creators. Thus today there exists fine examples of ethno-heirlooms that pay tribute to the transnational acculturation and survival of the American Indian people of the Great Western Northern American Plains. What is most important is the knowledge, and an appreciation for the idea that a transnational cross-pollination of cultures enriched and became rooted in United States history.
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Jackson, Julianna Geralynn. "The Octagon House and Mount Airy: Exploring the Intersection of Slavery, Social Values, and Architecture in 19th-Century Washington, DC and Virginia." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639577.
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This project uses archaeology, architecture, and the documentary record to explore the ways in which one family, the Tayloes, used Georgian design principals as a way of exerting control over the 19th-century landscape. This project uses two Tayloe homes as the units of study and investigates architectural choices at the Octagon House in Washington, DC, juxtaposed with its Richmond County, Virginia counterpart, Mount Airy, to examine architectural features and contexts of slavery on the landscape. Archaeological site reports, building plans, city maps, and various historic documents are used to identify contexts of slavery and explore the relationship between slavery, social values, and architecture at the Octagon House and Mount Airy, as well as look critically at the function of Georgian architectural features in 19th-century society.