Dissertations / Theses on the topic 'Glass sculpture 20th century'
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Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.
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Corcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.
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This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.
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Bishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.
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This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence.Department of Art
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Crellin, Sarah. "Bodies of evidence : making new histories of 20th century British scuplture." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27075/.
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This thesis includes a monograph, The Sculpture of Charles Wheeler (London: Lund Humphries in association with the Henry Moore Foundation, 2012), and a catalogue essay ‘Let There Be History: Epstein’s BMA House Sculptures’, in Modern British Sculpture, ed.by Penelope Curtis and Keith Wilson (London: Royal Academy of Arts, 2011). The book is the first study of Wheeler, an important but neglected sculptor who was President of the Royal Academy from 1956-66; the Epstein essay looks anew at a notorious episode in the career of one of modernism’s canonical practitioners, coming to radically different conclusions to the accepted narrative. The accompanying analytical commentary reflects on the complex research journey towards understanding and articulating hidden histories of modern British sculpture. Deploying traditional methodologies of archive exploration and making connections between divergent critical and artistic groupings has enabled the construction of new histories. Disrupting the appropriation and elision of ‘modern’ with ‘modernist’ and ‘avant-garde’ restores the work of non-canonical practitioners to the historical moment of the first half of the 20th Century, while historical analysis draws mythologised artists into the contingencies of the real world. These publications offer original insights and their impact is becoming evident in the fields of British sculptural and architectural history. Beginning in the recent past as I prepared to write this thesis, the commentary moves into the deeper history of the research journey, considering my theoretical approaches, the initial difficulties of writing against the prevailing academic fashion, the serendipities of a supportive scholarly milieu and the details of making Wheeler’s history. The value of the monograph itself is discussed. Reviewing Epstein’s modernist cause célèbre proved the transferable value of dispassionate archival research. The commentary finally comes full circle, concluding in October 2014 when I found myself, unexpectedly, implicated in the very history to which I have contributed.
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Lui, Shi-mun Patricia, and 呂詩敏. "Research on the art of Zhu Ming with special focus on his Taiji', andThe living world' series." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207388.
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McGown, Katie. "Dropped threads : articulating a history of textile instability through 20th Century sculpture." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36117/.
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Despite the ‘post-media condition’ of contemporary practice, some materials continue to be more equal than others. Cloth has a problematic history in Western art, frequently dismissed for its perceived inability to convey meaning beyond its own materiality, or a narrow idea of identity. The following thesis reconsiders this perspective and argues that it arose from the concurrence of heterogeneous post-war groups such as Post-Minimalism, and Fiber and Tapestry Movements, and the plethora of textile-based work they created. I review the accompanying critical responses to demonstrate how they sought to differentiate the use of fabric within these movements through the entrenchment of boundaries between valourised ‘art’ and denigrated ‘craft’. The thesis analyses how these categories were further complicated by mismatched lexicons of textile terminology. While fibre movements referred overtly and directly to fabric, the coinciding art theory primarily described its functions and affectations. We talk about the ‘softness’ of Oldenburg’s sculptures, not the cloth that makes them. This research argues that while there has been increasing scholarship surrounding these suppressed ‘craft’ textile practices, there is little exploration of the parallel and distinct material history of fabric within Western canonical Fine Art. The project addresses this asymmetry by focusing on the unspoken instances of cloth in mainstream twentieth century sculptural work and identifying the particular ways that artists have used this material. Artists have long employed the quotidian and shifting nature of textiles to convey ideas of instability, an impulse that can be traced back to Marcel Duchamp's 1913 work 3 Standard Stoppages. In order to critically interrogate the existing histories of textiles in twentieth century sculptural practices, the historical narratives presented in a number of exhibitions and catalogues are investigated. These accounts are considered in relation to three case studies that examine instances of structural, spatial and temporal instability in which cloth disrupts and untethers notions of fixed forms and static spaces. Investigating these narratives highlights historical cloth omissions, allowing for an understanding of how amnesiatic textile gaps affect practitioners today. My own cloth-based sculptural practice gives me a material authority and alternative perspective with which to question these received art historical narratives, and that in turn allows me to re-contextualise my decision to consistently work with this medium. My research-led practice centres on fabric objects that reference architectural forms; pieces that explore and exploit the unstable nature of cloth through their unfixed nature, and that I constantly reposition, resisting a final placement. By documenting these movements through photography and video, different temporalities are suggested, and a series of works that fluctuate between stasis and fluidity, order and chaos, are created. Accompanying these works are passages in the dissertation that reflectively a ddress the process of making and contending with the legacy of cloth. This project argues that fabric has been under-recognised but widely used in sculptural practices for over a century. Through explicitly articulating this narrative, a richer historical context for works that use fabric can be ascertained, and the insufficient complement of textile language in contemporary artistic discourse can be redressed.
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Heron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.
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The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work.
In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me?
My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.
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Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.
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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
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Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
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This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
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MacDonald, Alexander M. "Decorated Vitrolite pigmented structural glass : its development, applications, and methods of production, 1907-1958." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327783.
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Pigmented structural glass started being produced in the early years of the twentieth century, reached its height in popularity during the 1930's, and was no longer produced by 1960s. Vitrolite was one of the most popular brands of pigmented structural glass, It was first used as a white glass background for decalcomania advertisements and as cladding in areas were sanitation was desired. Several types of applied decoration were developed for Vitrolite that helped to expand it's applications in building beyond sanitary applications. These types of decoration include painted, sand-blasted, inlaid, laminated, agate, and surface textured designs. Decorated Vitrolite was commonly used on store fronts, in signage, and for restaurant interiors and lobbies. All decorated Vitrolite was completed in the Vitrolite factory prior to shipping to customers. The processes of creating the various types of ornamentation, how they developed, and their applications are the focus of this thesis.Department of Architecture
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McTague, Brian. "Revisiting "Hapworth": The Catharsis of Buddy Glass." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/287.
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J.D. Salinger's "Hapworth 16, 1924," his last published work, is notorious for the initial critical silence it received, as well as the subsequent general consensus that it was a text to revile if not avoid. This thesis proposes that while "Hapworth" is a difficult and perplexing piece, there is a good deal about it that deserves if not outright praise, then a close critical re-examination. Assuming the "author" of the story is not the seven-year-old version of "A Perfect Day for Bananafish" suicide Seymour Glass, as the story purports, but his grieving younger brother Buddy, who has spent the years since his brother's death trying to come to terms with it. "Hapworth" is Buddy's final--and perhaps finally successful--attempt to do so.
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Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.
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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format.
Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly.
By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation.
This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.
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Lamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
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Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.
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Nasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.
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The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
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Johnson, Jeffrey R. "Transmittance device : a study and construction of an architectural installation." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/845989.
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The Transmittance Device was an architectural installation, constructed as an imposition upon a public evergreen hedge row. The premise behind this exploration was to exploit architecture as a sequence of dynamic human experiences, creating an event or incident. The intention was to initiate a human transfer or violation from one side of a presumed boundary or barrier, to the opposite side. The boundary or barrier metaphorically represented the inherent characteristics human's possess, concerning abidement and conformity, within their normalities of regulated habit.The evolution process included theoretical conception, analysis of past installations, development of objectives, and four proposed projects. The final proposed Device was constructed in September, 1992, adjacent to the Fine Arts Building, on the campus of Ball State University. The Transmittance Device stood for over three weeks, instigating human engagement. The thesis document presents my collection of information gained, questions posed, and aspirations evoked, throughout the process of this exploration.This workbook documents the evolution process of the Transmittance Device. The Transmittance Device is an installation which exploits architecture as an event or incident, occurring as a human participates. Also, it is a construction which attempts to fuse the separation between architecture and sculpture. The document is not to be read as a conclusive narrative, but rather, a working text. The information is compiled in three general sections: architecture, installations, and the Transmittance Device, respectively chronological. The majority of the information presented was collected as scribbled notes, sketches, and study models produced throughout the nine month process (February to November, 1992.) The presentation of the constructed Device IV is presented with process sketches, scaled drawings, and photographs of the built construction. My aspirations are to continue this exploration, building upon the workbook, to never reach an end.Department of Architecture
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Hoffman-Stonebraker, Jennifer C. "The history and use of stained glass windows in ecclesiastical buildings in Indianapolis, Indiana, 1865-1915." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214382.
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This thesis examines stained glass windows in Indianapolis churches built between 1865 and 1915. It studies the trends in Indianapolis stained glass windows and compares them with the national trends in stained glass design. The evidence contained within this thesis indicates that a wide variety of styles popular at the time are represented in Indianapolis churches. The evidence also suggests that some national trends in stained glass did influence the design of the windows in Indianapolis. However, most of the windows in the surviving Indianapolis churches from the period are not typical of the high style trends in church stained glass found elsewhere in the United States.Department of Architecture
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McBride, Barbara L. "Joseph Knecht's pattern of awakening in Hermann Hesse's The glass bead game." Scholarly Commons, 1995. https://scholarlycommons.pacific.edu/uop_etds/2284.
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The purpose of this thesis is to establish the pattern of Joseph Knecht's awakening in Hermann Hesse's The Glass Bead Game. Based on the premise that Knecht, unlike Hesse's previous protagonists, is an integrated individual living within a disintegrated and segregated environment, a secondary intent of this paper is to examine the paradox of Knecht's Castalian existence. Each chapter concentrates on a stage of Knecht's development, both formally as a Castalian, and psychologically as an individual who is committed to serving the highest authority. This authority is not the rigid, one-dimensional Castalia but rather the dynamic force which governs all life. Knecht compares himself to music and perceives his life as a process of becoming. As he ascends the ladder of Castalian hierarchy, Knecht's own consciousness develops through the intervention of several antithetical figures who challenge him to reconcile the subjective nature of Truth and the transience of all forms. When he can no longer justify serving an Order which is governed by the pretense of perfection and permanence, Knecht feels obligated to warn Castalia of its own temporality and to resign his position as Magister Ludi. Knecht's leap beyond Castalia and into the deadly lake at Belpunt serves two purposes; not only does he take the first step toward integrating Castalia and the outside world, but he fulfills his own life by sacrificing himself to his pupil Tito.
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Aramendía, Manuel. "Alternativa personal para el estudio del proceso escultórico : precedentes históricos y debate actual." Doctoral thesis, Universitat de Barcelona, 1990. http://hdl.handle.net/10803/405419.
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Esta tesis da una visión sintética de las diferentes corrientes escultóricas internacionales que confluyen en el panorama actual español. Una vez contextualizada nuestra joven escultura se pasa a estudiar las reacciones individuales concretas de nuestros escultores, dejando claro que estos análisis individuales son solo una fase de la metodología sin que constituyan una finalidad por sí mismos.
A través del análisis de las posiciones individuales se detectan una serie de planteamientos que rebasan las posturas particulares concretas y que se expresan mediante unos "ejes de discusión".
Estos ejes se organizan como estructuras bipolares que asocian determinadas posiciones opuestas o antagónicas en un esfuerzo notable por deshacerse del concepto de "negación de lo anterior" como finalidad. Con esta intención revisa el arte conceptual español y constata la permanencia de alguno de sus postulados en la segunda mitad de la década de los 80, una vez superada la fase de pura negación del concepto en los primeros años de la actual década.
Con la misma vocación positiva se cuestiona conceptos tales como proceso y proyecto, mostrándonos el primero como una línea descompositiva tendente al signo elemental, mientras que nos presenta el proyecto como afirmación, posterior al proceso, en la cual tiene cabida la expresión de lo complejo. Relaciona tal énfasis de lo complejo con el carácter ecléctico del actual panorama.
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Mol, Elias Perigolo 1980. "Amilcar de Castro : confronto com a matéria." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279114.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-20T11:12:27Z (GMT). No. of bitstreams: 1 Mol_EliasPerigolo_M.pdf: 45699349 bytes, checksum: 0aa0676c63c1f2a73f7b7c3e9192234d (MD5) Previous issue date: 2012
Resumo: Este estudo analisa a obra do artista mineiro Amilcar de Castro (1920-2002) e busca as relações existentes entre as suas diferentes produções: o desenho, a pintura, a gravura, sua atuação à frente da reforma gráfica no Jornal do Brasil e o restante de sua produção escultórica
Abstract: This study examines the work of artist Amilcar de Castro (1920-2002). It investigates the relationships between his various activities: drawing, painting, printmaking, his role leading the redesign of Jornal do Brasil as well as his sculpture production
Mestrado
Historia da Arte
Mestre em História
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Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.
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This thesis investigates the influence of the Tiffany Studios in ecclesiastical stained glass windows of Indianapolis, Indiana. The Tiffany Studios was a leading stained glass manufacturer at the turn of the century and popularized the use of opalescent glass in stained glass commissions. The following study will briefly look at the history of stained glass, discuss the life of Louis Comfort Tiffany, characterize the work of the Tiffany Studios, and evaluate the ecclesiastical stained glass windows located in Center Township commissioned between 1880-1930. The evidence contained within the stained glass summaries suggests that Tiffany Studios did influence the commission of stained glass windows in Indianapolis during the period under review.Department of Architecture
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López, Páez Montserrat 1970. "Entre la vida y el arte: proyectos artísticos de los 90 que se conciben desde y para las personas." Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/669886.
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La Tesis Doctoral "Entre la vida y el arte. Proyectos artísticos de los 90 que se conciben desde y para las personas" propone la inclusión en el ámbito de investigación de las artes visuales de una serie de propuestas plásticas de finales del siglo XX que centran su interés en las formas de vida de la contemporaneidad, y más en concreto, en las formas de vida de la alteridad o del 'otro'. Ese otro se entiende como el individuo o conjunto de individuos que, al pertenecer a un grupo minoritario o anónimo, resulta a menudo invisible para la sociedad que lo acoge. Pero además estos proyectos artísticos cuentan con la singularidad de aproximarse al otro desde la perspectiva, las vivencias y los sentimientos de ese mismo otro; pues, tras ella subyace la idea de que sólo mediante una perspectiva múltiple es posible repensar la complejidad de una sociedad desde su misma base, diversa. Así, repensar al otro equivale a repensar el propio yo o, en otras palabras, equivale a repensar nuestra identidad, tanto individual como colectiva.
La investigación de la actitud o el comportamiento artístico, que versa sobre la alteridad y se construye a partir del otro, se lleva a cabo a través de siete proyectos artísticos firmados por Sophie Calle, Gillian Wearing, Ángel Corral, Donigan Cumming, Adrienne Salinger, Montse López y por el colectivo Big Hope, respectivamente. En cada capítulo, siete en total, se efectúa una aproximación o estudio detenido de un proyecto dado y se enfatiza su rasgo más sobresaliente, rasgo que, a su vez, constituye un aspecto distintivo del comportamiento artístico pretendido.
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Ryder, Marianne. "Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1096.
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The studio glass movement first arose in the United States in the early 1950s, and was characterized by practitioners who wanted to divorce glass from its industrial associations and promote it as a fine arts medium. This movement began in a few cities in the eastern part of the country, and in Los Angeles, but gradually emerged as an art form strongly associated with the city of Seattle and the Puget Sound region. This research studies the emergence and growth of the studio glass movement in the Puget Sound region from 1970 to 2003. It examines how glass artists and Seattle's urban elites interacted and worked separately to build the support structures and "art world" that provided learning and mentoring opportunities, workspaces, artistic validation, audience development, critical and financial support, which helped make glass a signature Puget Sound art form, and the role that artist social networks, social capital, cultural capital and cultural policy played in sustaining this community. In particular, the research seeks to explore the factors that nourish a new art form and artist community in second-tier cities that do not have the substantial cultural and economic support structures found in the "arts super cities" such as Los Angeles, New York City, and San Francisco. This study contributes to the growing literature on artist communities, and the roles played by social capital, cultural capital, urban growth coalitions and policy at different stages of community development. Results can assist policymakers in formulating policies that incorporate the arts as a form of community development.
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Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
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Valera, Albert. "La relación teoría práctica en la escultura catalana contemporánea: proceso, materia y comportamiento." Doctoral thesis, Universitat de Barcelona, 1991. http://hdl.handle.net/10803/672115.
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A partir del momento en que el escultor entiende su obra como un elemento trascendente, donde la imagen que crea adquiere una vocación de transmisión de ideas, aparece un comportamiento donde la reflexión sobre los mecanismos de creación y las consecuencias expresivas, que se derivan de este hecho, fundamentan el quehacer artístico. Este trabajo se centra, precisamente, en este tema: el de la relación entre la teoría y la práctica en la escultura y concretamente en el ámbito de la escultura catalana contemporánea.
El tema de la relación entre la teoría y la práctica se ha enfocado desde la articulación de tres conceptos que fundamentan el trabajo artístico: proceso, materia y comportamiento.
Proceso, materia y comportamiento sirven para efectuar un recorrido por las propuestas de la escultura contemporánea, referenciándolas con las actitudes y las formas que se desarrollan en la escultura catalana.
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Leclercq, Catherine. "Alexander Calder: mobile, couleur et forme." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212989.
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Mello, Eduardo Bortolotti de. "O volume na escultura de Sérgio Camargo." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284916.
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Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de ArtesMade available in DSpace on 2018-08-17T01:15:31Z (GMT). No. of bitstreams: 1 Mello_EduardoBortolottide_M.pdf: 24701423 bytes, checksum: d5a3d14748b8cbbbcbafe292a5148eda (MD5) Previous issue date: 2010
Resumo: Este trabalho tem como objetivo o estudo das articulações do volume que Camargo realizou ao longo de sua obra. Com base em uma afirmação do artista sobre seu próprio trabalho, nós iremos decodificar a linguagem abstrata de Sérgio, revelando as relações volumétricas presentes na obra do artista como por exemplo: equilibrar, tensionar e repousar. Ao longo de toda a sua obra construtiva Sérgio busca uma arte extremamente sensível. Esta característica é a grande contribuição de Sérgio Camargo para a arte brasileira
Abstract: This work has as its aim the study of the volumetric articulations that Camargo developed throughout his oeuvre. Based on an artist statement, we will decode Sérgio's abstract language, revealing the volumetric relations present on the artist's work such as to balance, to tense and to rest, for example. Throughout his whole constructive oeuvre, Sérgio searched for an extremely sensitive art. This aspect is the great contribution from Camargo to brazilian art
Mestrado
Artes Visuais
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Manuel, Daniel. "Les correspondants français de Canova (1785-1822) : contribution à une histoire sociale et matérielle du goût au tournant du XIXe siècle." Thesis, Brest, 2018. http://www.theses.fr/2018BRES0104.
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Le sujet inédit de la thèse repose sur un fonds d’archives. Il questionne la réception du sculpteur néoclassique italien Antonio Canova (1757-1822) dans les cercles et salons mondains à travers la correspondance de personnalités françaises aux profils multiples, du Consulat, de l’Empire et de la Restauration. Au gré des lettres, se dessine l'image d’un artiste aux prises avec des intérêts économiques, artistiques et sentimentaux. La séduction opère auprès des Napoléonides lui assurant protection et commandes ; elle gagne aussi les représentants du pouvoir à Rome et les salonnières pris au jeu de la délicatesse et du charme des compositions de l’Italien. La recommandation apparaît comme un mode de communication privilégié entre artistes et reflète la vitalité de ce type de lettre ainsi que la diversité des réseaux. La correspondance met en évidence le changement de statut de l’artiste qui adapte sa célébrité aux exigences de ses commanditaires en devenant un véritable homme d’affaires. Partagé entre désir d’émancipation et fidélité aux choix esthétiques de son mentor Quatremère de Quincy, Canova livre une production polymorphe qui le fait apprécier de la critique et du public qui cherche à voir en lui l’héritier moderne des sculpteurs grecs : mais ses rares présences et expositions à Paris limitent son impact. L’influence du premier romantisme dans la peinture néoclassique imprègne la production canovienne lui conférant son originalité. L’étude des missives fait surgir des questionnements historiques, matériels et esthétiques dont les épistoliers de Canova sont les témoinsThe novel subject of this thesis is based upon archive material. It is centered on how the work of Italian neo-classical sculptor Antonio Canova was received in the most glamorous clubs and salons, through the study of letters exchanged by French celebrities from different walks of life during upon the periods of the Consulate, the Empire and the Restauration. Letter after letter, the image of an artist confronted with économie, artistic and sentimental challenges emerges. He succeeds in winning over the Napoleonides who grant him their patronage and their protection. He also gains the support of government représentatives in Rome and of fashionable women who are enraptured by the charm and the refinement of the Italian sculptor’s compositions. Référencés appear as a privileged form of exchange between artists, and reflect the vitality of this type of letter, and the variety of networks.Correspondence demonstrates the changing status of the artist who adjusts his réputation to the demands of his patron, thus becoming a true businessman. Torn between his longing forfreedom and his commitment to the artistic leanings of his mentor Quatremère de Quincy, Canova's production has many facets, which endear him to critics and to the public who wishes to see him as the modem heir of Greek sculptors. Yet as he rarely visits Paris and his work is rarely exhibited there, his impact is limited. The influence of early romanticism on ne classical painting permeates Canova’s works, and is a tribute to his originality. Studying these letters brings to light historical, material and esthetic questions that their authors bear witness to
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García, García Ascensión. "El puente y la escultura: un diálogo entre funcionalidad y estética." Doctoral thesis, Universitat de Barcelona, 1997. http://hdl.handle.net/10803/672090.
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Este trabajo de investigación plantea una relación entre los puentes y su historia, estructura y funcionalidad, su análisis estético formal y la escultura. Como método de aproximación se utiliza una doble vía: la via histórica, mediante un recorrido por los puentes de todas las épocas, poniendo en paralelo la evolución formal de los mismos con los materiales y tecnologías utilizados. A la vez, se intercalan, de manera comparativa, propuestas escultóricas que se aproximan al lenguaje de los puentes por analogía. No se marcan límites temporales ni tampoco espaciales, entendiendo que el lenguaje de los puentes es un lenguaje universal. La vía analítica se resuelve con una propuesta que parte de tres ámbitos de conocimiento perceptivo, interpretativo y gráfico; para concluir con la conceptualización de categorías visuales que son susceptibles de ser aplicadas a una lectura estético-formal de los puentes. La mayor aportación de este estudio se desprende de la amplitud de sus objetivos, lo que deja caminos abiertos, pero también un recorrido iniciado del que destacaría las siguientes aportaciones: el planteamiento interdisciplinar, la sistematización, la propuesta de metodología y la conexión interdisciplinar.
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MacDonald, Juliette. "Aspects of identity in the work of Douglas Strachan (1875-1950)." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.
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This thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its political counterpart. Yet there are strong arguments to counter this belief. This thesis addresses some of the issues raised by such arguments and adopts an ethno-symbolic approach in order to re-evaluate Strachan's work, and that of his contemporaries. The thesis also develops the theoretical and contextual debates concerning the decorative arts in general and stained glass in particular in order to raise awareness of its merits and its role within our society.
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Lega, Lladós Ferran. "La Cimática como herramienta de expresión artística." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/146136.
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En esta tesis doctoral, se exploran las diferentes técnicas cimáticas existentes (la cimática es la ciencia que estudia las representaciones visuales generadas por las ondas de sonido y los fenómenos periódicos de vibración sobre la materia), y se realiza un riguroso estudio desde una perspectiva audio-visual. A partir de los resultados, se desarrollan herramientas para su aplicación en las diferentes disciplinas artísticas contemporáneas.
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Asensio, Fernández José Antonio. "Una revisión de la luz como nuevo factor creador en la escultura. Desde 1950 hasta nuestros días." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/145558.
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La presente tesis se basa en el estudio de las múltiples variantes plásticas que la luz ha permitido desarrollar dentro de la escultura contemporánea, siendo prioritaria una aproximación a las poéticas generadas por la utilización de ese material determinado o el que se deriva de su observación. Para ello se ha diseñado una estructura consistente en varios capítulos destinados a analizar la poética en general referida a las obras de arte que conjugan luz y el concepto de tridimensionalidad en un ámbito contemporáneo dado que analizamos el arte y a los artistas que trabajan en este ámbito después de la Segunda Guerra Mundial.
En la introducción podemos ver un análisis de carácter más histórico respecto al marco conceptual que estamos analizando, mencionando algún caso puntual anterior al periodo histórico en el que nos movemos, con el interés de entender mejor los procesos creativos que han generado las nuevas realidades creativa en el ámbito de la luz y la escultura. También aclaramos conceptos como la motivación personal, el interés temático, los objetivos y la metodología seguida para realizar esta tesis.
En un primer capítulo, analizamos las expresiones escultóricas que utilizan la luz como material poético inherente, haciendo un repaso de las maneras de hacer o interpretar la escultura o las intervenciones tridimensionales desde todas las perspectivas y formas de crear utilizadas por artistas de todo el mundo e inscritos (o aún no) en determinadas tendencias. Esto hace que el análisis sea amplio y contrastado con ciertos comportamientos del espectro artístico contemporáneo en un mundo cada vez más global y conectado en todo momento. En este capítulo también se hace una breve reflexión poética referida a la luz y a las intervenciones escultóricas contemporáneas.
En el segundo capítulo se refiere a las distintas formas de intervenciones artísticas que utilizan la luz como elemento fundamental, desde una tipificación que recoge unas catorce formas de interpretar el arte desde estos parámetros específicos de luz y espacio tridimensional, todo ello ejemplificado con una buena cantidad de artistas de una relevancia que justifican cada uno de los diferentes apartados por su particular manera de trabajar su producción artística.
El tercer capítulo recoge información de algunos acontecimientos significativos que han representado un impulso para nuestro objeto de estudio, haciendo un repaso desde “Luzboa” en el 2004, a la gran exposición celebrada en el museo ZKM de Karlsrühe “Light art from artificial light” entre los años 2005 y 2006, la Bienal de Venecia del año 2011, las “Festes Decennals Candela 2011” (Valls, Tarragona) con su exposición “LUMENS”, que se celebra cada diez años, y el XI Foro Internacional de Escultura celebrado en la ciudad alemana de Celle en el año 2012 y organizado por “Sculpture Network”.
El cuarto capítulo está destinado a cuatro entrevistas realizadas a artistas (con una representatividad justificada en el panorama artístico nacional e internacional) que aportan su visión personal en un documento que recoge sus motivaciones conceptuales y aspiraciones artísticas en todas sus posibilidades, artistas estos de ámbito nacional e internacional, dos de ellos locales, otro nacional y un último extranjero que aporta una nota distinta por su manera de trabajar.
También quedan recogidas en el quinto capítulo, a modo de conclusiones, algunas reflexiones personales acerca de la propia obra artística con ejemplos de desarrollo de proyectos escultóricos con luz y las evidencias pedagógicas recogidas en ejemplos de alumnos que han trabajado en estas dinámicas como consecuencia del tipo de docencia recibida.
Por último, y cerrando el trabajo, la base bibliográfica, hemerográfica y de Internet, además de los anexos pertinentes.
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Blin, Jean-Pierre. "Max Ingrand(1908-1969). Un atelier de vitrail dans la France du XXe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040128.
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Max Ingrand (1908-1969) fut l'un des maîtres verriers français les plus célèbres du XXe siècle. Après ses études à l'École nationale des arts décoratifs, il entre en 1927 dans l'atelier de Jacques Gruber (1870-1936). Dès 1931, il commence une carrière personnelle de maître verrier décorateur et réalise de nombreux décors civils en glaces gravées. Il crée les vitraux de l'église Sainte-Agnès de Maisons-Alfort et participe au projet des verrières de la nef de Notre-Dame de Paris qui sont présentées au pavillon pontifical de l'Exposition de 1937. Mobilisé en 1939, il reste cinq ans prisonnier dans un Oflag en Allemagne. A son retour, il devient l'un des verriers les plus actifs des chantiers de la reconstruction où il réalise notamment l'ensemble monumental de l'église d'Yvetot. Le service des Monuments historiques lui confie des chantiers prestigieux : cathédrales de Rouen, de Beauvais, de Saint-Malo, de Strasbourg, chapelles des châteaux de Blois, d'Amboise, de Chenonceau, églises de La-Charité-sur-Loire et des Jacobins de Toulouse. Au milieu des années cinquante, sa notoriété lui vaut des commandes importantes à l'étranger, notamment aux États-Unis, au Canada et en Amérique du sud. Il poursuit parallèlement une œuvre de décorateur et de designer. Il assure pendant treize ans la direction artistique de la firme italienne Fontana-Arte pour laquelle il crée de nombreux modèles de luminaires. Il participe au décor de paquebots parmi lesquels le Normandie et le France. Il conçoit des fontaines lumineuses, notamment pour les Champs-Élysées à Paris. Dans ses dernières années, il réoriente sa carrière vers l'architecture d'intérieur et l'éclairage. Il meurt brutalement en 1969, peu après avoir confié la direction de son atelier à son collaborateur Michel DurandMax Ingrand (1908-1969) was one of the most famous French glassmakers in the twentieth century. He studied at the National School for Decorative Arts and joined Jacques Gruber’s studio (1870-1936) in 1927. He began his own career as a glass designer in 1931 and produced many engraved glass decorations, both in public and religious buildings. He created the stained glass windows of Saint-Agnes Church at Maisons-Alfort and took part in the project of the windows executed for the nave at Notre-Dame de Paris, which were first displayed inside the papal pavilion of the 1937 Exhibition. An officer in the French armed forces in 1939, he was made a prisoner and jailed for five years in a camp in Germany. When he returned home, he became one of the most active glassmakers in the whole country, being involved in the reconstruction effort and working, in particular, to the project of a monumental church in Yvetot (Normandy). He was part of prestigious projects led by the French Heritage in cathedrals (such as Rouen, Beauvais, Saint-Malo and Strasbourg), in castles (such as the chapels of Blois, Amboise, Chenonceau), in churches (such as La Charité-sur-Loire and the Jacobins in Toulouse). Due to his fame, he won a large amount of orders abroad in the mid-fifties, especially in the United States, in Canada and in South America. He acted at the same time as a decorator and a designer. He was, for instance, an art director for thirteen years at the Fontana Arte, a big design company in Italy, and created many lighting fixtures for them. Before and after World War II, he was involved in the decoration of liners as important as the Normandy and the France. He also designed lit fountains in public spaces, the best known being along the Champs-Élysées in Paris. He had to change career dramatically in his late years and stopped glassmaking. He then specialized in architectural design and lighting fixtures. He died suddenly in 1969, a few months after he had passed his workshop on to his associate Michel Durand
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Ruiz, i. Carulla Martí. "Escultura sonora Baschet. Arxiu documental i classificació d'aplicacions pel desenvolupament de formes acústiques." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/363918.
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El nostre estudi -basat en les fonts documentals originals i el treball de camp-, aporta una lectura del corpus de l’obra a la llum del sistema conceptual desenvolupat pels Baschet, per facilitar la comprensió dels principis acústics i les seves aplicacions. L’objectiu d’aquesta tesi és posar en valor aspectes estètics i tècnics -en relació als posicionaments vitals dels Baschet respecte la noció de l’Escultura Sonora com a objecte de participació pública-, per afavorir la reflexió i contribuir a establir les bases per a la conservació, recerca i desenvolupaments posteriors, tot insertant-se naturalment en la pròpia trajectòria de l’Escultura Sonora Baschet.Our study -based on original documentary sources and field work- provides a reading of the corpus of work under the light of the conceptual system developed by Baschet, to ease the understanding of acoustic principles and their applications as well. The aim of this thesis is to highlight the technical and aesthetic aspects -in relation to the vital statements of Baschet respect the notion of Sound Sculpture as an object for public participation- to encourage ponder and help laying the foundation for conservation, research and further development, while inserting naturally in the path of the Baschet Sound Sculpture.
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Sans, Massó Alexandra. "La escultura matriz de Louise Bourgeois, un espacio para la revuelta." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/382834.
Full textAbstract:
Louise Bourgeois se está convirtiendo en una de las artistas modernas más conocidas en occidente, su fama es casi una parodia del anonimato en el que vivió durante la mayor parte de su vida artística. En el último cuarto de siglo se ha escrito una cantidad abrumadora de literatura sobre su trabajo, siendo su obra mostrada en grandes exposiciones internacionales itinerantes y convirtiéndose en el centro de estudio de críticos, académicos y estudiantes.
¿Qué es lo que aún queda por decir sobre esta artista tan ampliamente estudiada? Este fue una de las grandes interrogantes que se me plantearon al iniciar mi trabajo de tesis en 2010. Por un lado es muy difícil aportar algo diferente cuando hay equipos de personas en los grandes museos que junto con especialistas externos redactan catálogos para sus exposiciones, pero por el otro, tantos profesionales han arrojado luz sobre su obra que es posible profundizar en ella desde numerosos campos de conocimiento distintos.
La clave está en la obra de Bourgeois, un cuerpo de obra que se extiende durante la mayor parte del siglo XX e inicios del XXI, que es capaz de reinventar los términos de su expresión artística pero que es coherente con sus temas durante todo el re- corrido. Una obra enigmática, asombrosa y muy personal que es capaz de abrazar innumerables interpretaciones. Para mí no ha sido un camino fácil ni directo. Cuando empecé la tesis quise abordar el trabajo a partir de la idea de “la habitación propia de Virginia Woolf”, leyendo el trabajo de Bourgeois como la construcción progresiva de un espacio literal y metafórico donde ser y devenir mujer y artista. Seguidamente me concentré en el concepto de celda, con la ambición de elaborar una genealogía de este concepto a partir de la vida y la obra de diferentes mujeres desde el siglo XV. Finalmente, mi investigación y mi experiencia vital durante la escritura de la tesis me llevaron a la propuesta actual, el análisis de la escultura en Bourgeois como un espacio matricial, donde es posible la revuelta interior. Mi trabajo ha consistido en relacionar la obra de Bourgeois con la teoría de los géneros de Christopher Bollas, el concepto de revuelta de Julia Kristeva y el estudio de la subjetividad de Nick Mansfeld.
En la primera parte de la tesis se propone una introducción a la vida y obra de Louise Bourgeois exponiendo los factores que propiciaron que su trabajo fuera considerado contemporáneo durante más de siete décadas. El segundo capítulo se centra en su emblemática serie Cells y se describe como una estructura generativa y matricial. El tercer capítulo recorre la propuesta de Bourgeois a partir del concepto de revuelta y del protagonismo de la subjetividad en el trabajo de la artista.
Durante la redacción de esta tesis he usado intermitentemente la primera persona. Podría parecer no procedente desde una perspectiva académica más tradicional. He creído oportuno hacerlo porque este trabajo me ha ocupado durante un largo periodo de mi vida y me he comprometido con él; este estudio ha influido en mi vida y mi vida ha dado forma a esta investigación. En segundo lugar porque uno de los temas centrales de la tesis es la subjetividad en el trabajo de Bourgeois, una subjetividad que nace a través de su experiencia vivencial y que se manifiesta a lo largo de todo su arte. Espero que la estructura del índice de esta tesis, así como las relaciones conceptuales y visuales que en ella se han establecido, permitan acercarse al trabajo de Louise Bourgeois desde un nuevo prisma, y sean de utilidad para el futuro estudio de la artista.
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Mesa, Vázquez Rufino. "Anell de pedra, L'." Doctoral thesis, Universitat de Barcelona, 2006. http://hdl.handle.net/10803/1543.
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"L'Anell de pedra" és una aliança amb la natura i una reflexió oberta sobre la comunicació que s'experimenta en contacte amb ella. Presenta un ordre en la complexitat de l'acte creatiu i manifesta la voluntat de fer un pacte estable. Vol ser una gnosi, un fil d'unió entre el pensament estètic, la sensibilitat espiritual i el paradigma emergent. Amb la informació disponible sobre l'existència paradoxal de les coses, la tesi defineix una gràfica virtual amb tres àrees de realitat: · El món exterior construït amb matèria inerta, base comuna de la realitat.
· Les coses sensibles encarnades en el cicle de la vida i la mort.
· Allò que emergeix de l'activitat mental, les hipòtesis de treball científic i les obres d'art.
Aquests universos estan traspassats per un fil invisible unit a les lleis de la física, als processos metabòlics i bioquímics que constitueixen la base de la vida. La visió del paradigma emergent, post cartesià, unifica la matèria, la vida i la ment i ens obliga a definir de bell nou la relació existent entre l'home i la resta d'éssers vius. La raó humana no és una característica diferenciadora de la resta d'animals, sinó que és una qualitat que ens unifica amb ells, ens situa en la mateixa línia d'evolució de la vida. En la roda dels canvis, en la transformació de la matèria, tant sols estem en altre nivell, en una fase de complexitat diferent.
L'art pot ser ara una manera que l'home fa servir per connectar amb l'alè invisible del món, amb el llenguatge encriptat que presenta la natura. Des de la perspectiva de la realitat estètica, l'obra d'art és el vehicle que posa en comunió la matèria i les seves produccions, és el nodol de les xarxes de relació entre la matèria, la vida i la cultura.
L'Anell de pedra vol mitigar el dolor de la vida i apaivagar els nivells d'incertesa. La seva forma presenta un ordre amb el qual es mira el misteri inefable del món, en ell queda emmirallat un patró de conducta que s'auto replica, que balla sobre un fons caòtic i genera ontologia. Aquesta percepció de la matèria sensible l'he anomenada "la realitat estètica". Tot emergeix d'aquesta premissa; la qualitat creativa de la matèria. El món que veiem, és la seva obra i en ella intentem trobar-nos i acomodar la nostra existència. La ressonància creadora, les "hierofanies" que emanen d'una muntanya, no són la veu del sagrat, són constatacions de la realitat estètica, intuïcions creatives, "revelacions", fruït d'anàlisis de la raó científica. Hem de pensar, però, que tot és físic, incloent les emocions i els pensaments, tot emergeix d'una memòria implicada en la matèria que es desplega als ulls per mitjà de reaccions físiques i químiques. L'univers es revela a la mirada com holografies, creacions instantànies de la ment que queden unides per xarxes de relació física. En el fons caòtic del món i la ment, tot és atzar i necessitat, intercanvi d'energia i informació.
El procediment de treball ha portat varies direccions:
· Constatar en l'experiència de camp que la ressonància de la matèria es comunica i traspassa els tres àmbits anunciats.
· La recerca i documentació d'aspectes sensibles en la natura, com a eina que ajuda a conèixer la condició humana.
· Elaborar la idea que l'art és també el llenguatge de la natura, ja que aquesta està sotmesa al cicle creatiu de la vida i de la mort.
· La vida també és art i aparença; pregunta obsessiva que cerca el seu significat en una contínua transformació.
CONCLUSIONS: Com a escultor he assajat escenaris per fer accions en la cara fosca de la realitat: les ocultacions. Com a resposta a les meves conviccions, allí, on les simetries fonamentals de les partícules presenten el principi d'incertesa, he presentat l'obra, allí he redactat el compromís conceptual de l'aliança. En el món exterior, en el de les coses tangibles he instal·lat la forma de l'anell de pedra.
"El anillo de piedra" es una reflexión abierta desde la escultura que trata sobre la comunicación débil y sobre la comunión que se establece con la naturaleza. Presenta un orden en la complejidad del acto creativo y expresa la voluntad de establecer una alianza dentro de la oscuridad del mundo. Quiere ser una gnosis, un hilo de unión entre el pensamiento estético, la sensibilidad espiritual y el paradigma emergente, la nueva formulación de la realidad. Con la información disponible sobre la existencia paradójica de las cosas, la tesis define una gráfica con tres áreas de realidad:
· El mundo exterior construido con materia exánime pero común a todo lo que nos rodea.
· Las cosas sensibles encarnadas en el ciclo de la vida y de la muerte.
· Las acciones que emergen de la actividad mental, las ideas, ilusiones, fascinaciones, hipótesis de trabajo científico y las obras de arte.
Presenta estos universos traspasados por un hilo invisible, unidos siempre a las leyes de la física, a los procesos metabólicos y bioquímicos que constituyen la base de la vida. La visión del paradigma emergente, post cartesiano, unifica la materia, la vida y la mente y nos obliga a definir de nuevo la relación existente entre el hombre y el resto de seres vivos. Las propuestas de la tesis nos invitan a formar parte del fluir creativo de la naturaleza. Se reflexiona sobre la razón estética y apunta que no es una característica que nos diferencie del resto de los animales, sino que es una cualidad que nos unifica con ellos; nos sitúa en la misma línea de evolución, así, podemos de pensar que tan sólo nos encontramos en una fase diferente.
Las aportaciones del procedimiento creativo son:
· Constatar en la experiencia de campo que la resonancia de la materia se comunica y traspasa los tres ámbitos anunciados.
· La búsqueda y documentación de aspectos sensibles en la naturaleza ha proporcionado una respuesta estética que mitiga los niveles de incertidumbre y nos reconcilia con el mundo.
· La vida es arte y apariencia en proceso permanente, cuestión que nos obliga a elaborar una idea firme más allá del escenario de los objetos. El arte es también el lenguaje de la naturaleza, ya que ésta está sometida al ciclo de la vida y de la muerte.
Conclusiones: como escultor he ensayado espacios para hacer acciones en la cara oculta de la realidad: las ocultaciones. Como respuesta a mis convicciones, allí, donde les simetrías fundamentales de las partículas presentan el principio de incertidumbre, he presentado la obra, allí he redactado el compromiso conceptual de la alianza. En el mundo exterior, en el de las cosas tangibles y contingentes, he instalado la forma, el Anillo de piedra.
ENGLISH SUMMARY:
"Stone ring" is an open reflection and experiment of poor communication, which introduces order into the complexity of the creative act and reveals the will to create an alliance with Nature.
It is a work of gnosis, a connection between the aesthetic thought, the spiritual sensitivity and the emergent paradigm; a new world order. By means of information on the paradoxical existence of things, the thesis defines a virtual graphic displaying three areas of reality:
· The external world built with spiritless material, common to everything.
· Sensible things involved in the cycle of life and death.
· Everything that arises from mental activity; ideas, illusions, fantasies, hypotheses of scientific and art works.
These universes are connected by an invisible thread which is united to the laws of physics, metabolic and biochemical processes that constitute the basis for life.
The post Cartesian vision of the emergent paradigm unifies matter, life and soul, and forces us to redefine the relationship between man and other beings; nature.
Reason does not make us different from other animals. In fact, it is a quality that unifies us, that places us in the same evolution chain, despite representing different phases of evolution.
The procedure for the project has focused on three main areas:
· Prove through field experience that resonance of matter can communicate and move through the three above-mentioned areas
· Use research as a tool to document sensitive aspects of nature and reduce levels of uncertainty
· Develop the ideas that art is the language of nature, subjected to the cycle of life and death and that life is art and appearance.
CONCLUSIONS:
As a sculptor, I have conducted research in different settings in order to perform actions on the dark side of reality: concealments. To prove my convictions, I have presented my work where the main symmetries of particles display the uncertainty principle. The display is found in the external world of tangible objects and is where I have placed the Stone ring and ultimately written the conceptual compromise of alliance.
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Pirson, Chloé. "Les cires anatomiques (1699-1998) entre art et médecine: étude contextuelle de la collection céroplastique du musée de la médecine d'Erasme." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210884.
Full textAbstract:
Based upon a servey of the Université libre de Bruxelles medecine museum anatomical waxes collection, my Phd aims to study in an historical context the anatomical waxes fron the 18th Century to the 20th Century. We demonstrated who the didactical items created by sculpture ways appeared throw their successif uses from medical teaching to the prevention of the diseases of the time in the anatomical fairground attractions.Sur base d'une étude de la collection des cires anatomiques du musée de la médecine d'Erasme, ma thèse de doctorat vise à l'étude contextuelle de la production de cires anatomiques depuis la fin du 18e siècle jusqu'au 20e siècle. Nous avons montré comment ses objets didactiques, produits par des moyens sculpturaux, ont été perçu à travers leurs usages successifs depuis l'enseignement médicale jusqu'à la prévention sociale des maladies d'époque, au sein des musées anatomiques forains.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.
Full textAbstract:
Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.
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Brenner, Joni. "The construction of likeness in some contemporary high portrait painting." Thesis, 2016. http://hdl.handle.net/10539/20922.
Full textAbstract:
A Dissertation Submitted to the Faculty of Arts. University of the
Witwatersrand, Johannesburg, in partial fulfilment of the requirements
for the Degree of Master of Arts in Fine Arts.
Johannesburg 1996Likeness is a central issue to the tradition of portrait painting. This dissertation examines the notion of likeness in some contemporary high portrait painting. Likeness is viewed as constructed socially through the complex relations between artist, sitter and viewer. Faced with the problematic notions of realism and naturalism and their philosophical ramifications, the dissertation confronts the question of What in our world can be regarded as natural or given, and what is constructed or acquired. The discussion, framed by the debate set up between Nelson Goodman and E.H. Gombrich, leads to the conclusion that the 'natural' and the 'real' are not neutral, they are highly constructed. The dIfferences between various conventions; various ways of representing others, are extrapolated from the debate, and once acknowledged. the final position taken is a less linear conventionalist stance. The constructed nature of likeness is tested against the portraits by American artist, Andy Warhol and British artist. Lucian Freud, contemporary painters working in direct antithesis to one another. The aim is to show that both of their portrait likenesses. whether private or public, painterly Or mechanical, are embedded within socially constructed conventions. Recognition of 'the conventions can guide the viewer in deconstructing the work and locating the meaning. I discuss my own work in relation to the contents of this dissertation.
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"Inspiration of architecture on contemporary ceramic art." 1997. http://library.cuhk.edu.hk/record=b5889270.
Full textAbstract:
Wong Lai Ching.Slides insert in pocket.
Thesis (M.F.A.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 45-46).
ABSTRACT
INTRODUCTION --- p.1
Chapter Chapter 1 : --- SYMBIOSIS OF INSIDE AND OUTSIDE --- p.4
-Transformation of vessel
Chapter Chapter 2 : --- THE CRISIS OF IDENTITY --- p.15
-The magic of teapot
Chapter Chapter 3 : --- SITE - SPECIFIC WORK --- p.22
-The giant in nature
Chapter Chapter 4 : --- METABOLISM --- p.35
-Regeneration and process
CONCLUSION --- p.42
BIBLIOGRAPHY AND REFERENCE --- p.45
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Cohen, Joshua Irwin. "Masks and the Modern: African/European Encounters in 20th-Century Art." Thesis, 2014. https://doi.org/10.7916/D8BG2M4Z.
Full textAbstract:
Taking Paris as its geographical nexus, this dissertation tracks European and African modernist appropriations of African sculpture across a three-tiered historical trajectory spanning from 1905 to 1980. Part I charts engagements with West and Central African masks and statues by the Fauves and Pablo Picasso; Part II assesses the work of pioneering black South African artists Ernest Mancoba and Gerard Sekoto; and Part III chronicles the nationalization of modern art in Senegal under President Léopold Sédar Senghor. Through examinations of the cross-cultural, formal, and politicized dynamics of African sculpture--or so-called art nègre--in modern art discourse and practice on two continents, the dissertation argues that European and African artists shared certain form-based approaches to African objects, coupled with tactical understandings of those objects' cultural origins. The artists diverged--both individually and by movement--insofar as they appropriated African art to different ends reflective of historical period, social context, and personal approach. More broadly, the dissertation argues that the early-20th-century European avant-garde "discovery" of African sculpture became globally significant through its eventual catalytic role for modern art movements in Africa. It argues that some of the most important modernist appropriators of African sculptural forms were African painters who both studied and subverted their European precursors in that practice.
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Da, Cruz Carla. "The use of clay as a medium in contemporary sculpture (1980- 2003)." Thesis, 2004. http://hdl.handle.net/10321/2187.
Full textAbstract:
Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art, Durban Institute of Technology, Durban, 2004.This dissertation investigates the use of clay as a medium in contemporary sculpture made between 1980 and 2003. This research focuses specifically on discussing the artists' (both sculptors and ceramists) different approaches and attitudes to working with clay, from construction, manipulation, firing and glazing techniques through to their personal aesthetics and ideas. This dissertation examines how and why the contemporary sculptor trained in Fine Art is increasingly using clay as a medium in which to work. In addition, the candidate discusses the work of ceramic artists that have moved away from the constraints of earlier, more traditional, functional ceramics and have sought to push the boundaries of clay usage in terms of size, scale, mass and concept. Chapter One presents a broad historical overview of the use of clay in sculpture. This overview illustrates the depth and breadth of the use of clay in the making of sculpture, spanning the Nineteenth Century to the Twentieth Century, in order to highlight the significant shift in the use of clay in contemporary sculpture. Chapter Two introduces and discusses a number of contemporary sculptors who work in clay in different ways. Section One examines artists using clay and other materials in the creation of installations. These include Antony Gormley and Andy Goldsworthy. Section Two discusses those artists working with clay in large-scale, including Jun Kaneko and Wilma Cruise. The architectural and environmental use of clay materials is discussed in Section Three; this includes artists John Roloff, who works with the kiln as sculpture and Joyce Kohl, who works with adobe assemblages and steel.
M
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Couldridge, Fiona Sharon Kemsley. "Christian thematics in the work of Jane Alexander." Thesis, 2014.
Find full text
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Simpson, Sally Robyn. "Practice-led research into ways the museum is explored as a house of wonder in contemporary sculpture." Master's thesis, 2012. http://hdl.handle.net/1885/156002.
Full textAbstract:
The contemporary ecological debate embodies diverse opinions reflecting the complexity of information available. The museum has recorded the history of human-nature relations, and has influenced ways in which meaning has been assigned to nature. Its influence over the interpretation of objects has been critiqued by 20th century artists and postmodern theorists. However, the museum also continues to engage and inspire some artists, and this research uncovers reasons for this. This research investigates the ways in which contemporary sculpture can employ museum aesthetics to draw attention to flexible and uncertain meaning regarding ecological issues. It is undertaken in two parts. The first, the studio work with an exegesis of 8,000 words, investigates two particular sites and applies museum methodology to sculptures inspired by those environments. The work is supported by a dissertation of 18,000 words researching the work of Mark Dion and Fiona Hall. Both of these artists appropriate museum aesthetics in order to demonstrate that meaning is flexible and engage the viewer in the interpretive process. The studio research culminates in two bodies of work related to the two sites chosen, using the aesthetics of cultural artefacts, natural specimens, and skeleton galleries found in museums of natural history and ethnography. The form and materiality of these objects intends to defy didactic interpretation. The dissertation reveals that, as a result of its history, the museum is a house of wonder and mystery. The examination of Dion's and Hall's works demonstrates their use of postmodern strategies to both challenge the museum and exploit its potential as a house of wonder, and ultimately to engage the viewer's curiosity and active interpretation.Vol.1: Dissertation -- vol.2: Exegesis.
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Bourdin, Lara. "The sculpture of Irma Stern (1922-1955)." Thèse, 2013. http://hdl.handle.net/1866/10431.
Full textAbstract:
Le présent mémoire se veut être une étude critique portant sur un thème qui n’a pas été traité à ce jour : l’œuvre sculptural d’Irma Stern (1894-1966), artiste d’ascendance juive-allemande née en Afrique du Sud. Il s’agit de dégager des perspectives nouvelles sur l’art, la carrière et l’importance historique d’une personnalité qui est d’ordinaire acclamée pour sa contribution à l’essor de la peinture sud-africaine moderne.
Notre visée est double. Nous proposons d’abord le premier catalogue exhaustif des sculptures d’Irma Stern : sont présentées environ trente à cinquante œuvres qui furent réalisées entre 1922 et 1955 dans divers média et dont le trait commun est de représenter des femmes africaines. Nous proposons en second lieu une analyse interprétative du corpus, dans son intégralité. Il s’agit de corréler l’œuvre sculptural d’Irma Stern aux méandres de sa vie et de son travail de peintre déterminée à représenter des sujets africains. Notre but est de parvenir à une compréhension fine des désirs, des préoccupations et des angoisses qui animèrent l’artiste dans sa confrontation, longue de trente années, avec des thèmes africains ainsi que des dynamiques de pouvoir qui se dégagent de son œuvre. En portant tour à tour notre attention aux sculptures en argile (1922), en ciment (1936-45) et enfin, en pierre à savon et en verdite (1936-45), et en empruntant aux cadres conceptuels fournis par les théories postcoloniale, phénoménologique et sculpturale, nous mettons en évidence les évolutions qu’a connues le rapport de l’artiste à son sujet et ce qu’elles nous disent sur la relation, mouvante, qu’elle entretenait avec ses modèles. Les analyses que nous proposons sont susceptibles d’ouvrir de nouvelles pistes et de modifier le regard porté à Irma Stern et à sa place dans l’histoire de l’art sud-africain.This thesis proposes an unprecedented critical study of the sculptural production of the South African-born, German-Jewish artist Irma Stern (1894-1966). It seeks to open new perspectives on the art, the career, and the historical significance of a figure who is commonly celebrated for her pioneering contribution to the development of modern South African painting. This thesis’ contribution is twofold. Firstly, it offers the first comprehensive catalogue of Stern’s sculptural œuvre, bringing into focus a corpus of roughly thirty to fifty works, produced between the years 1922 and 1955 in a variety of different media, which display a consistent focus on the African female subject. Secondly, it analyzes and interprets Stern’s complete sculptural oeuvre. Mapping the narrative of Stern’s sculptural production onto the plot of her life and work as a painter of African subjects, it seeks to offer a richer understanding of the desires, anxieties, and concerns that underpinned Stern’s thirty-year-long engagement with African subject matter as well as an account of the racial power dynamics that are at play in her oeuvre. Through dedicated studies of Stern’s production in clay (1922), cement (1936-1945), and wonderstone and verdite (1936-1945), guided by concepts drawn from postcolonial, phenomenological, and sculptural theory, it tracks the changes in Stern’s sculptural approach to her subject matter and analyzes them in terms of Stern’s changing relationship with her African models. These analyses ultimately offer new directions for approaching Stern and framing her position in the history of South African art.
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Edmunds, Paul Jonathan. "Inherent ecology : an examination of sculpture by Walter Oltmann, Andries Botha and Paul Edmunds." Thesis, 1995. http://hdl.handle.net/10413/5990.
Full textAbstract:
I begin by describing Western culture in the way proposed by Fritjof Capra whose ideas
remain seminal to my argument throughout this examination. I argue that Western value
systems are in the midst of a major transformation, exhibiting an increasing Ecological
awareness. I define Ecology as an all-encompassing phenomenon which includes the
biological definition of the term as well as the practice of environmental, peace and feminist
groups and movements. As such it is seen as a philosophy or approach to experiencing the
world which has much in common with many spiritual traditions, contentions and intuitions.
I concentrate especially on Buddhism and Taoism insofar as they articulate seminal aspects
of Ecology. Situating this notion of cultural transformation and Ecology into a South African
context, I interpret Waiter Oltmann's sculptures in relation to this, inherently and consciously
embracing Ecological concepts and ideas and redressing cultural imbalances with his images
and techniques. Andries Botha's work is likewise seen to question cultural imbalances and
to pose questions about new and dynamic relationships within society and culture. His work
is seen to relate very closely to Capra's ideas. Finally I discuss my own sculptures, noting
how they relate to Botha's and Oltmann's works and how I consciously set out to address and
articulate ideas pertaining to Ecology and my experience of the world in these terms. I
discuss the origins of my images, techniques and materials and the construction of my works,
describing how these relate intentionally and intuitively to the ideas which inform my work.
My discussion of art making in terms of Ecology intends as much to offer a new
interpretation of this art making as it does to illuminate and illustrate aspects of Ecology. In
conclusion I situate this argument in the South African context, discussing how my discourse
can be seen to enrich and compliment a particularly South African interpretation of these
artists' works which could draw on traditional South African or Christian cultures and
traditions.Thesis (M.A.)-University of Natal, Pietermaritzburg, 1995.
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Mergl, Jan. "Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-332283.
Full textAbstract:
DISERTAČNÍ PRÁCE Univerzita Karlova v Praze Filozofická fakulta Ústav pro dějiny umění Studijní program Dějiny výtvarného umění Jan Mergl Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940 Art Development of the Production of the Harrach Glassworks in Nový Svět 1850-1940 Abstract Vedoucí práce: Doc. PhDr. Jana Kybalová, CSc. 2014 ABSTRACT Highly regarded throughout the world, Bohemian glass is also acknowledged as a cultural phenomenon in its own right and the Harrach glassworks in Nový Svět in Krkonoše indisputably ranks among the most accomplished companies that have had a determining influence on the world renown of Czech glassmaking. First documented in the early 18th century, the glassworks has been in existence for three hundred years. However, its prominent status among Bohemian producers of glass is not only due to its long history. What makes it noteworthy is its traditionally outstanding craftsmanship and technological facilities, and mainly its foresighted efforts to employ and further enhance diverse techniques in working with crystal and coloured glass. Thus, the factory was able to readily respond to the changes in the styles of glass as these developed from the 18th to the 20th centuries. This work is the outcome of long-term, focused research of archival sources, especially...
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Liebenberg-Barkhuizen, Estelle Juliana. "The Iconography of the 'indigene' in Mary Stainbank's sculpture c 1920-1940." Thesis, 2002. http://hdl.handle.net/10500/879.
Full text
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Knapová, Martina. "Sociální tendence a dílo Vladimíra Astla." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-344511.
Full textAbstract:
One of the main objectives of this thesis is not only to map the life of Czech sculptor Vladimir Astl, but also explore various inspirational sources he might have used when creating social oriented pieces. Those are critical in is work. Typical avatars of plastics with social context are Žízeň (Thirst), Smutek (Sadness) or Stará žena (Old Woman), all of them from the period of 1905 - 1910. The initial chapter shortly discusses social problem which existed during the verge of 19th and 20th century and immediately influenced increasing use of social topics in art. Next chapter elaborates on these topics in more detail and focuses on changes of French society which were closely tied to the occurence of ambitious ideas to build monuments celebrating work of men. This chapter also discusses sculpture in France in more depth with focus on labor-oriented pieces from August Rodin, Jules Dalou and Henri Bouchard. The work of mentioned sculptors was dedicated to monuments celebrating labour. These formed a common inspiration source for social related themes in Czech sculpture of the turn of the 19th and 20th century. Next chapter continues to describe the foreign social tendencies and introduces a Belgian sculptor Constantin Meunier who made a significant impact on Czech lands with his pieces being...
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Thorngate, Russell. "The choral cycle : a conductor’s guide to four representative works." 2011. http://liblink.bsu.edu/uhtbin/catkey/1639728.
Full textAbstract:
This study explores the choral cycle as a genre and analyzes in depth four representative choral cycles, all of them American, and all composed in the twentieth century. Choral cycles are multi-movement choral works intended by their composers to be performed as sets. The term “choral cycle” has been used for only about a hundred years; similar genres include song cycles, for solo voice, and cantatas, usually for soloists and choir. Choral cycles, however, typically use several poetic texts unified by common theme or common author, and do not typically contain solo movements. The evolution of the use of the term by some composers and publishers has been inconsistent, but it seems to have been an effort to describe compositions that were inadequately described by other genre names. This study shows that composers and musicologists have used the term with increasing frequency. The four choral cycles analyzed in this study are The Hour-Glass by Irving Fine, American Madrigals by Kirke Mechem, Voices by Stephen Paulus, and Five Hebrew Love Songs by Eric Whitacre. These four cycles demonstrate widely
divergent compositional techniques, performing force requirements, and uses of text. As such, they illustrate the wide range of possibilities within this genre.
In addition to the detailed analysis of the aforementioned choral cycles, this study also provides background into the historical predecessors of choral cycles. An appendix offers a list of numerous other choral cycles for consideration.Choral cycles in historical context -- The hour glass by Irving Fine -- American madrigals by Kirke Mechem -- Voices by Stephen Paulus -- Five Hebrew love songs by Eric Whitacre -- Summary and conclusions.
School of Music
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Garlatyová, Gabriela. "Maria Bartuszová (1936 - 1996). Sochařské dílo v kontextu umění." Doctoral thesis, 2020. http://www.nusl.cz/ntk/nusl-437136.
Full textAbstract:
This dissertation is devoted to a monographic processing of the work of sculptress Maria Bartuszová (1936, Prague - 1996, Košice). Methodologically, it is mainly based on the compilation and evaluation of knowledge from the in-depth research of the first list of works of M. Bartuszová "Catalogue Raisonné 2012-2018", Collection of drawings and photographs from the Archive of M. Bartuszová, biography, exhibitions and bibliography. It is divided into four chapters, in which it deals with the sculpture of M. Bartuszová, its transformations in the period of her ceramics studies at the Academy of Fine Arts, Design and Architecture during the 1950s in Prague, continues by tracking her sculptural beginnings since 1961, and it deals with the circumstances of her relocation to Košice where she lived most of her life. It tracks her work during the normalization period of the 1970s until the end of the 1980s, when the totalitarian regime ended with the Velvet revolution. It explores the reasons why her work was little exhibited and also why it was little known and reflected by the professional circles. Based on the process of assembling parts of the organism of her oeuvre reconstructs technological experimental procedures, original terminology of the sculptor, creative intentions, dating of works and their...