Dissertations / Theses on the topic 'Australian painting'
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Gruner, Billy. "Painting the object : recent formal Australian painting." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4992.
Full textWenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
Full textWaldmann, Anna. "Desiderius Orban: an Australian romantic." Thesis, The University of Sydney, 1987. https://hdl.handle.net/2123/26267.
Full textParker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.
Full textResearch. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
Sherwin, Fiona Gill Harry P. "Harry Pelling Gill, a practising artist /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahms5541.pdf.
Full textWheeler, Elizabeth. "Colour, immateriality & uncertainty in painting." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/28007.
Full textUrquhart, Ian McLeod, and n/a. "An internship in painting conservation at the Australian National Gallery." University of Canberra. Applied Science, 1985. http://erl.canberra.edu.au./public/adt-AUC20061109.162330.
Full textParker, Margaret Ina, and margaret_p@optusnet com au. "Landscape Painting: Connection, Perception and Attention." La Trobe University. Visual arts and design, 2006. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080225.113947.
Full textPiper, Jennifer Ann. "White, Carey and Nolan : national myth in Australian literature and painting." Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446272.
Full textHattam, 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.
Full textPurcell, Marisa. "Ancestral spaces time, memory and the liminal experience of painting /." Connect to full text, 2007. http://hdl.handle.net/2123/2763.
Full textTitle from title screen (viewed 11 September, 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references.
Wang, Kang Ning. "Sino‐Australian Nomads: Identity Politics And The Art Of Migrants." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/15088.
Full textDreise, Mayrah Yarraga. "Constructing Place: Australian Aboriginal Art Practice at the Cultural Aesthetic Interface." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366227.
Full textThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Ottley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Full textOttley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Full textGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.
Full textSuwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.
Full textThe Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
Scheib, Michael. "Painting Anzac: a history of Australia’s official war art scheme of the First World War." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13139.
Full textMillward, William H., University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Beneath the surface : the role of intuition in the creative process." THESIS_FPFAD_XXX_Millward_W.xml, 1998. http://handle.uws.edu.au:8081/1959.7/308.
Full textMaster of Arts (Hons) (Visual Art)
Jordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.
Full textDonald, Colin University of Ballarat. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12759.
Full textMaster of Arts (Visual Arts)
Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." Thesis, University of Ballarat, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/37534.
Full textMaster of Arts (Visual Arts)
Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14594.
Full textMaster of Arts (Visual Arts)
Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
Full textSullivan, Joyce Lorraine, and mikewood@deakin edu au. "The revelationary art of Joyce Lorraine Sullivan :An artist's experience of her inner dimensions, an inner journey of discovery." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060825.113351.
Full textWoodger, Jeff Robert University of Ballarat. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.
Full textDoctor of Philosophy
Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38512.
Full textDoctor of Philosophy
Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15614.
Full textDoctor of Philosophy
Millward, William H. "Beneath the surface : the role of intuition in the creative process." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/308.
Full textBlake, Kate M. "Drawing All the Way: The Confluence of Performance, Cultural Authority, and Colonial Encounters in the Painting of Rover Thomas." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1371721339.
Full textCarroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
Full textMillward, William H. "Beneath the surface : the role of intuition in the creative process /." View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.102902/index.html.
Full textFries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art." Connect to full text, 2008. http://hdl.handle.net/2123/5709.
Full textTitle from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
O'Carroll, Anthony Terrrence Art College of Fine Arts UNSW. "'The history of matter painting in Australia'." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/40467.
Full textGaskins, William G. "On the relationship between photography and painting in Australia, 1839-1900." Thesis, Gaskins, William G. (1991) On the relationship between photography and painting in Australia, 1839-1900. PhD thesis, Murdoch University, 1991. https://researchrepository.murdoch.edu.au/id/eprint/52768/.
Full textKlaussner, Miriam. "An examination of communication across cultures in news media and at informal/personal levels : with concentration on relations among two South East Asian countries and Australia and those two countries and Germany." Thesis, Queensland University of Technology, 2002.
Find full textGray, Sarah Willard. "Abstracting from the landscape a sense of place /." Access electronically, 2008. http://ro.uow.edu.au/theses/147.
Full textFozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.
Full textEadie, Graham McLean. "Dissertation." Phd thesis, 2002. http://hdl.handle.net/1885/156371.
Full textMacneil, Roderick Peter. "Blackedout : the representation of Aboriginal people in Australian painting 1850-1900." 1999. http://repository.unimelb.edu.au/10187/1063.
Full textThe figures of Aboriginal people formed a significant presence in Australian painting from the moment of first contact in the late eighteenth century until well into the nineteenth century. I argue that in paintings of the Australian landscape, as well as in portraiture and figure studies produced in the second half of the nineteenth century, images of Aboriginal people were used to signify the primordial difference of the antipodean landscape. In these paintings, Aboriginality emerged as a motif of Australia’s precolonial past: a timeless, arcadian realm that preceded European colonisation, and in which Aboriginal people enjoyed uncontested possession of the Australian landscape. This uncolonised landscape represented the antithesis of colonial civilisation, both spatially and temporally distinct from the colonial nation.
I argue that prior to Federation in 1901, Australian national identity was dependent upon the recognition and construction of a ‘difference’ that was seen to be implicit within the Australian landscape itself. This sense of difference derived from the settlers’ perception of the Australian environment, and became embodied in those objects which appeared most ‘different’ from settlers’ notion of the familiar. Colonial artists drew upon an iconography based upon this recognition of difference to signify the geographical identity of the landscape which they painted. Aboriginal people were central to these icons of ‘Australian-ness’. Further, the association of Aboriginal people with a precolonial Australia served to rationalise acts of colonial dispossession.
Representations of Aboriginal people dressed in a traditional manner, as well as those in which they are portrayed in European costume as ‘white but not quite’, underwrote colonial assertions of Aboriginal ‘primitiveness’ and precluded Aboriginal participation in the foundation of the Australian nation. The strengthening nationalist movement of the 1880s and 1890s meant that a new iconography was needed, one in which the triumph of the white settler culture over indigenous cultures could be celebrated. As a result, Aboriginal people began to disappear from the canvases of Australian artists, replaced by ‘white Aborigines’, who symbolised a new depth in the relationship between setter-Australia and the landscape itself. As well and more broadly, they were replaced by the image of the white frontiersman, the leitmotif of settler culture. This exclusion of Aboriginal people from the conceptualisation of the Australian nation reflects not only their ‘disenfranchisement’ within Australian society, but more significantly reveals the effectiveness with which a visual discourse of ‘Australia’ painted Aboriginal people out of existence.
Crisp, Leeanne. "Report." Master's thesis, 2000. http://hdl.handle.net/1885/156389.
Full textReuter, Emily. "Terra Incognita: the sublime, the uncanny and nostalgia in painting the landscape Australian." Thesis, 2009. http://hdl.handle.net/1959.13/805548.
Full textThis paper is written in four parts: Melancholy and the Colonial in Australia, the Sublime with Aspects of the Picturesque, the Strange - Freud's Unheimlich, the Uncanny, and a journal on the author's travel through Central Australia. The above is explored and shown how they continue to shape Australian identity, the author's painting practices and that of other Australian artists.
Smith, Avis Carol. "Changing fortunes: the history of China Painting in South Australia." 2009. http://hdl.handle.net/2440/59391.
Full texthttp://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281
Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009
Watson, Christine. "Kuruwarri, the generative force : Balgo women's contemporary paintings and their relationship to traditional media." Master's thesis, 1996. http://hdl.handle.net/1885/144360.
Full textSchmidt, Chrischona. "'I paint for everyone' - the making of Utopia art." Phd thesis, 2012. http://hdl.handle.net/1885/156288.
Full textEastburn, Melanie. "The living specimen : Guan Wei : a Chinese-Australian artist." Thesis, 1997. http://hdl.handle.net/1885/258500.
Full textHu, Lisa Chu-Ying. "Report." Master's thesis, 2001. http://hdl.handle.net/1885/156336.
Full textBarnes, John Robert. "Reconnection: an exploration of Australian landscape beyond history and myth." Thesis, 2011. http://hdl.handle.net/1959.13/929483.
Full textReconnection - an Exploration of Australian Landscape Beyond History and Myth is an investigation into whether the materials and processes of landscape-focussed studio research, structured on an experiential foundation, can act as a portal of connection with nature for an arguably disconnected humanity. My direct experience of the land is central to Reconnection but the studio is the place where imagination and labour operated as complementary processes to produce the seven series of paintings that form the exhibition. The Australian landscape is the constant reference through which I have attempted to engage an audience with the ideas and emotions that underpin this visual exploration. This exegesis aims to establish the personal, philosophical, environmental, historic and intellectual background in which to position the exhibition. From within this context I explore notions of belonging and connection to place and by examining the conceptual and material particularities of each series, I have tried to reveal the framework on which they are constructed and how they inter-act to form a self-contained whole. Throughout Reconnection I have attempted to assess the continuing relevance of landscape painting within the plurality of contemporary art practice by examining and questioning its changing forms and focus within non-Indigenous Australian art since colonisation, as this is the testing ground for my works. This project is founded on my own experience and history and so to venture into the complexities of Indigenous artistic production with which I have had little direct personal involvement, is to go beyond its scope. Within this research and completed body of paintings I have sought to establish a point of connection between nature and a viewing audience while questioning the abilities of landscape painting to act as a communicative medium in the exchange of ideas and emotion.
Clay, Trevelyan. "Studio report from Painting Workshop : The Trees On Your Mound." Thesis, 2004. http://hdl.handle.net/1885/155286.
Full textShelley, Helen. "Studio report." Thesis, 2003. http://hdl.handle.net/1885/155826.
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