Dissertations / Theses on the topic 'Influence (Artistic)'
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Wadstein, Erik. "Artistic Techniques to Influence Navigational Behavior in 3D-Games." Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-2401.
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Todays video games use diff erent aids to help players navigate and proceed in a 3D-environment. It is common that players are assigned an objective to complete and have to navigate from point A to point B, often with the help from navigational aids. This study contains an experiment where test-players had to navigate through a set of 3D-environments to complete an objective, without navigational aids. Instead the author used artistic techniques (geometry, lighting and texture) to see if they could aff ect test-players decisions in how to proceed. Results where compared to predictions in how test-players where believed to proceed. The results from the experiment states that some artistic techniques can aff ect test-players decisions in how to proceed.
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Rockage, Jennifer. "Overheard-collected-remade." Morgantown, W. Va. : [West Virginia University Libraries], 2010. http://hdl.handle.net/10450/11086.
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Thesis (M.F.A.)--West Virginia University, 2010.Title from document title page. Document formatted into pages; contains iii, 49 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 44-45).
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Gao, Wei Zhi. "Creative criticism : the example of James Joyce /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/9422.
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Heine, Martin Alfons. "Versus the vox populi reflections on the practice of art as a quest for liberation /." Connect to full text, 2003. http://hdl.handle.net/2123/640.
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Thesis (Ph. D.)--University of Sydney, 2004.Title from title screen (viewed 5 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Sydney College of the Arts. Degree awarded 2004; thesis submitted 2003. Includes bibliographical references. Also available in print form.
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Shrestha, Suman. "Evaluation of Shape's Influence on User's Performance in Shape Replication Task." Thesis, Uppsala universitet, Människa-datorinteraktion, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-187214.
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This thesis presents experimental results of shape’s influence on user’s performance in terms of time and accuracy in shape replication task. The shapes are drawn with mouse, pen and touch input devices. For this purpose, two non-meaningful, semi- randomly generated shapes have been used. The first shape has a combination of straight lines and curves whereas the second shape has curves only. Each of these shapes is presented in four versions namely contour, polygon, narrow tunnel and wide tunnel. A method to compare versions of these shapes with the corresponding versions of user drawn shapes is presented. In general, the results showed that the replication of second shape takes less time and the replicated shape is more accurate when compared to the first shape. In addition, performance of the input devices was found to be dependent upon the shapes and their versions they were used to draw.
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Goto, Akiko. "Yoichi Hiraoka: His Artistic Life and His Influence on the Art of Xylophone Performance." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500161/.
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Yoichi Hiraoka was an amazing Japanese xylophone player who had significant influence on the development of the xylophone as a solo instrument. The purpose of this dissertation is to collect and record evidence of Mr. Hiraoka, to examine his distinguished efforts to promote the xylophone, to investigate his influences on keyboard percussion literature, and to contribute to the development of the art of keyboard percussion performance as a whole. This dissertation addresses Yoichi Hiraoka’s artistic life, his commissioned pieces, and his influence on the art of xylophone performance. Analyses of two of his most influential commissioned works, Alan Hovhaness’ Fantasy on Japanese Wood Prints and Toshiro Mayuzumi’s Concertino for Xylophone Solo and Orchestra, are also included to illustrate the art of the xylophone, and to explain why Hiraoka did not play all of his commissioned works.
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Lam, Yung, and 林勇. "Writing in the shadow, or writing the present in the past and writing the past for the present." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950620.
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Lam, Yung. "Writing in the shadow, or writing the present in the past and writing the past for the present." [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13762084.
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Hawley, Angelina. "Two sides of the same mind: How our beliefs about the artist's moral mind influence the way we respond to the artistic mind." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104075.
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Thesis advisor: Ellen WinnerIn two studies I examine how contextual information about the moral mind of the artist affects both children's and adults' response to works of art. Study 1 examined liking ratings of artworks as well as utilitarian objects. Factors varied were whether the items were said to have been made vs. owned by people of negative vs. positive moral character. Forty adults, 20 7-8-year-olds, and 23 4-5-year-olds were shown 12 artworks and 12 utilitarian objects and were asked to indicate on a 7-point scale how much they liked each one. Each item was presented as either owned or made by a person of positive or negative moral character. Moral character was predicted to affect liking ratings, with artworks expected to be affected more by the moral character of the maker than the owner, and utilitarian objects expected to be affected more by the moral character of the owner than the maker. Moral character had a significant effect on liking ratings: both artworks and utilitarian objects were liked less when believed to have been owned or made by someone of negative rather than positive moral character, demonstrating a moral contagion effect. Contrary to prediction, believing that an artwork was made by a person of negative moral character did not depress liking ratings more than believing that the artwork was owned by an artist of negative character. But consistent with prediction, believing that a utilitarian object was owned by a person of negative moral character depressed liking ratings more than believing that the object was made by someone of negative character. These findings held for all three age groups. Study 2 examined both liking and evaluative judgment ratings for two kinds of artworks: those whose content is related to the artist's moral character and those whose content is unrelated to the artist's character. Sixty-seven adults, 24 7-8 year-olds, and 23 4-5-year-olds were shown 12 representational paintings and were asked to indicate on a 7-point scale how much they liked each one and how good they thought each one was. Moral character was expected to affect both liking and evaluative judgment ratings, and content-related works were expected to be liked less than content unrelated works for artists of negative moral character; no effect of content-relatedness was expected for the putatively more objective evaluative judgments. Results replicated the moral contagion effect found in Study 1 for liking as well as judgment ratings with negative moral character linked to lower ratings than positive moral character. As predicted, liking ratings were lower for related than unrelated content for works by artists of negative moral character. Contrary to prediction, the same result held for works by artists of positive moral character. Evaluative judgment ratings were not affected by whether the content was related or unrelated in the case of artists of negative character (as predicted), but for artists of positive character, unrelated images were judged better. Children ages 7-8 behaved like adults for both liking and judgment ratings. Children ages 4-5 liked and judged as better the images with unrelated content for both mean and nice artists. Thus, adults and children ages 7-8-years old liked images more when the artist's moral mind was not visibly displayed but judged the related/unrelated images as equally good--indicating that the artistic mind (displayed through the arrangement of the composition, colors etc.) was more important for evaluations than was the moral mind. For 4-5-year-olds, preferences did not diverge from evaluative judgments. Thus, what they liked was what they thought was good, and moral "right" was equivalent to aesthetic "right". Taken together, results lead to the conclusion that artworks are affected by moral contagion, but moral contagion affects liking more strongly than it affects evaluative judgment
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Psychology
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Metze, Stefanie. "An imperial enlightenment? : notions of India and the literati of Edinburgh, 1723-1791." Thesis, University of Aberdeen, 2011. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=179528.
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This dissertation highlights the influence of the extension of Empire in India on Enlightenment in Scotland. It argues, consistently, that an ever increasing contact with the Eastern parts of Empire over the eighteenth century created productive tensions between the personal, material and intellectual worlds of the Edinburgh literati. Scottish thinkers stood in close contact to one another and congregated in the Select Society and the Poker Club. Beyond the domestic boundaries, they had practical and personal interests in contemporary events in the East Indies. All had relatives or acquaintances in India and were all correspondents of Sir John Macpherson, Governor-General of India (1785-6). The dissertation shows that a revision of civic humanism on the one hand and scientific Whiggism on the other, found their main dilemma in “luxury” and “despotism” respectively. Both of these concepts were intrinsically connected with the perception of India at the beginning of the eighteenth century. One of the outcomes of the literati’s personal and intellectual engagement with India was the different solutions for the regulation of Empire. Ferguson, following the tradition of civic humanism, argued for the importance of civic virtue in order to maintain Empire. His thoughts stood in stark contrast to Smith, Hume and particularly Robertson. Vigour, instead of civic virtue, needed to be developed and strengthened. No monolithic canon of how Empire could be sustained was developed by these men, but all were involved in squaring the circle of improvement through Empire. The constant interplay between domestic, cosmopolitan and imperial spheres suggests that Enlightenment had an imperial nature, which is highlighted in relation to the literati’s particular investigation of “luxury” and “despotism” and their positive perception of Nabobs. Moreover, the dissertation emphasises that Edinburgh associations can not only be viewed as pillars of Enlightenment in Scotland, but also as networks and the gateways to Empire from at least the 1760s. The evidence assembled suggests that men like Ferguson and Robertson were active players in a world which was intellectually and practically shaped by Empire.
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McKinzey, Joan C. (Joan Connie). "Conversations with the Master: Picasso's Dialogues with Velazquez." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277908/.
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This thesis investigates the significance of Pablo Picasso's lifelong appropriation
of formal elements from paintings by Diego Velazquez. Selected paintings and drawings
by Picasso are examined and shown to refer to works by the seventeenth-century Spanish master.
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Duda, Cynthia M. "The city, the girls, the composer--the phenomenon influences on the performance of Vivaldi's bassoon concertos at the Ospedale della Pietà /." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1249490783.
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Thesis (M.Mus.)--University of Akron, School of Music, 2009."August, 2009." Title from electronic thesis title page (viewed 11/11/2009) Advisor, Brooks A. Toliver; Faculty Reader, Galen S. Karriker; School Director, William K. Guegold; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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Kramer-Kuszyk, Cheryl A. "The effect of parental influence and support upon the artistic and response behaviors of the young child to the visual arts." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1995. http://www.kutztown.edu/library/services/remote_access.asp.
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Goudreau, Hélène. "Influence de l'enseignement de l'esthétique sur la créativité des élèves de sixième année primaire en regard du programme du ministère de l'éducation du Québec en art /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1991. http://theses.uqac.ca.
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Ferreira, Elga. "Understanding mobile and locative media and its influence on urban culture : emergent digital spaces and artistic design practice in relation to contemporary mobility." Thesis, University of West London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521313.
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McVittie, Marina P. de. "Eris the impulse at the root of mimesis /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/8308.
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Lee, E. (Eutheum). "“Being in a forest, it is so magical to me”:a narrative study on aesthetic experience of nature and its influence on artistic creativity." Master's thesis, University of Oulu, 2016. http://urn.fi/URN:NBN:fi:oulu-201608122630.
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Art and aesthetic value are generally acknowledged to elevate our minds and enhance the quality of life. The motivation of this study arose from the researcher’s own experience of Finnish nature, which influenced her artistic creativity and the world view. Thus, the starting point of this research lies on the curiosity of the researcher about how other people experience nature. The research focuses on aesthetic experience of Finnish nature and tries to search its connection to artistic creativity and meaning-making from the experiences. The aim of the research, therefore, is to depict and understand different aesthetic experiences of nature through narratives.
The research questions are:
1. What kind of aesthetic experiences do participants of the research narrate in relation to nature?
2. How do narrators relate aesthetic experience of nature to artistic creativity?
3. What meanings do narrators give to aesthetic experiences of nature?
The theoretical framework of this study draws on aesthetics, especially by adopting the ideas of environmental aesthetics and everyday aesthetics. The framework provides the understanding of aesthetic experience in the field of everyday aesthetics; it means that aesthetic appreciation is not art oriented, but broadened into appreciation in everyday life. This study gives attention to subjects’ sense, emotion and imagination through the ideas of Berleant (1992, 1996, 2002, 2005), Brady (2003), Carlson (1981), Dewey (1934) and Saito (2007). I also follow the theories of Haapala (2005) and Tuan (1977) to study meaning-making from experiences.
The research was conducted by using narrative inquiry; as it allows a researcher to understand a phenomenon in a deeper level by investigating the ways human experience the world described through stories. The research subjects are art minor students in the faculty of education at the University of Oulu. The interviews were carried out individually as a form of semi-structured interview with open-ended questions. The data were analyzed by applying Polkinghorne (1995)’s analysis of narratives and Riessman (2008)’s thematic analysis.
For the first research question, the result of data analysis indicated that participants described the experience of nature as positive and pleasant with diverse gestalt, behavior and affective qualities. Even though they share same qualities, the stories behind were different by each individual as they all have different characteristics and lives. The narratives on the experiences of nature showed different processes of feelings, emotion and imagination of the participants. For the second research questions, it was found that aesthetic experience of nature has a significant influence on artistic creativity as it provides references for art and a space for building artistic creativity. Artistic creativity was strongly influenced by the experience of nature when participants’ feeling, emotion and imagination were actively involved. For the last research question, the meaning of the experience of nature was discovered as it gives energy for life and provides chances for self-awareness. The experience of nature was meaningful by reflecting on participants’ life and their own selves.
In conclusion, the research showed that the participants experience nature through diverse senses. Imagination and recalling the past also played important roles when experiencing it. Hence, the experiences of nature were contextual and relative depending on individuals. The result of this study also found that the aesthetic experience of nature had a notable influence on artistic creativity for the participants. In addition to that, the research shows the significance of nature in human’s life both as an environment and as an energizer for one’s life. Consequently, this study promotes the awareness and importance of experiencing nature with aesthetic values.
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Santa, Cruz Grau José Miguel. "Extremo cinematográfico: posmodernidad y multi-culturalidad (1980-2010)." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397722.
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Esta investigación construye una trayectoria práctica-teórica del cine contemporáneo (1980-2010), a partir del quiebre con su estadio moderno, a la luz de dos grandes problemas. Estos problemas son la(s) posmodernidad(es) y lo que llamamos multi-interculturalidad, que trabajamos como dos focos-sintomáticos de las profundas transformaciones en las maneras de pensar, hacer, rentabilizar y administrar lo cinematográfico en la contemporaneidad. Para dar cuenta de los debates, las prácticas y las transformaciones estructurales de los espacios culturales-sociales, hemos considerado pensar estos focos-sintomáticos no solo como un debate de ideas ni tampoco como prácticas estéticas en un grupo de cineastas y películas, sino que estén histórica y culturalmente situados y localizados dentro de las transformaciones neoliberales del capitalismo tardío. Para ello, hemos desarrollado un ejercicio cartográfico-genealógico del devenir práctico-conceptual de estos dos focos sintomáticos, a través de la triangulación no vertical ni jerárquica de las condiciones materiales de producción, el clima teórico-conceptual que padecen o impulsan esas condiciones y las prácticas cinematográficas-audiovisuales que se relacionan de forma activa con ambos. Las siguientes páginas son la memoria del proceso en que el cine-audiovisual ha expandido sus fronteras, a través de la diversificación de sus formas estéticas y plataformas de producción, de su relación con otros campos estético-simbólicos y el cuestionamiento a su propio estatuto de autonomía reflexiva-práctica-productiva. Proceso que ha ampliado sustancialmente lo que entendemos por lo cinematográfico en el presente.The next pages are the report of the process where the cinema-audiovisual has expanded his frontiers, through of the diversification of their aesthetics forms and production platforms, of their relationship with other aesthetics-simbolic fields, and questioning their own autonomy statute reflexive-practice-productive. Process that have extended substantially the understanding of the cinematographic subject in the present. This work builds a practice-theoretical trajectory of the contemporary cinema (1980-2010) from of the break point with his modern stage, in light of two major problems. These problems are the postmodernism(s) and what we name multi-interculturality, that we works as two symptomatic focus of the deep change in the manners of thinking, making, make profitable, and administering the cinematographic subject in the contemporaneity. To account of the discussions, practices and structural transformations of the cultural-social space, we considered necessary thinking these symptomatic focus not only as ideas debate, neither as aesthetics practice in the movies and filmmakers, if not that are historical and cultural located in the neoliberal changes of the late capitalism. For this, we have developed a cartographic-genealogic exercise of to becoming of this two symptomatic focus, through of the triangulation no vertical nor hierarchical of the material conditions of production, theoretical-conceptual climate that suffer or impulse these conditions and the cinematographic-audiovisual practices that has a active relationships with both.
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Millward, Vincent John. "Vers une définition de l'automatisme québécois /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1997. http://theses.uqac.ca.
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Mémoire (M.E.L)--Université du Québec à Chicoutimi, 1997.Ce mémoire a été réalisé à Chicoutimi dans le cadre du programme de maîtrise en études littéraires de l'Université du Québec à Trois-Rivières extensionné à l'Université du Québec à Chicoutimi. CaQCU Bibliogr.: f. [238]-252. Document électronique également accessible en format PDF. CaQCU
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Rengakos, Antonios. "Apollonios Rhodios und die antike Homererklärung." München : C.H. Beck, 1994. http://books.google.com/books?id=XC1gAAAAMAAJ.
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Knihtilä, A. (Aila). "Eetoksena hyvyys ja kauneus:taiteilija ja musiikkikasvattaja Anna-Liisa Antila-Kaljusen toimintaelämäkerta." Doctoral thesis, Oulun yliopisto, 2016. http://urn.fi/urn:isbn:9789526214245.
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Abstract This thesis homes in on Anna-Liisa Antila-Kaljunen (1915–2006), a member of the first generation of the newly established Republic of Finland, exploring her life and work as artist and teacher educator. In addition to archival material, the thesis also utilizes personal recollections of Antila-Kaljunen. The principal aim of the thesis was to investigate how a female secondary school graduate of the 1930’s built a distinguished professional career in three fields: music, education and music education. Her term as the first publicly-elected organist of the Evangelical-Lutheran church made her a pioneer, whose status and professional competence were widely admired in contemporary press reports. Another aim involved comparing the education Antila-Kaljunen received to the development of musical education in Finland. Yet another strand of research examined the interaction between teacherhood and artistic identity. Serving as the methodological backbone of this thesis, life course analysis allowed tracking all changes within Antila-Kaljunen’s lifespan, including transitions, opportunities and restrictions, societal changes, human relationships or educational and work-related choices and activities. For a performing musician, competence and self-efficacy were deemed as central building blocks of agency, while narrative analysis comprised the main tool for studying recollections. In recollections of Antila-Kaljunen, three factors stand out: her significance, exemplarity and influence as teacher. Specific emphasis can be placed on mentoring, which appears to have formed a meaningful undercurrent for a number of her teacher-student relationships, particularly for students with a musical orientation. A key contribution of this thesis involves appreciating and acknowledging a teacher’s work in a wider perspective than just one lifetime. Moreover, the thesis points out how the Second World War shaped the lives and careers of the wartime generation and the choices they made. The road to performing artist was long and winding, but Antila-Kaljunen, who was talented and musically-inclined, eventually got to fulfil her educational and professional ambitions independently and without restrictions. Her achievements as a musician and teacher hinged on an ethos of versatility, manifested through goodness and beautyTiivistelmä Väitöskirjassa tarkastellaan itsenäisen Suomen ensimmäiseen sukupolveen kuuluneen Anna-Liisa Antila-Kaljusen (1915–2006) elämää ja toimintaa taiteilijana ja opettajankouluttajana. Arkistoaineiston lisäksi tutkimuksessa on käytetty hänestä kerättyä muistelukerrontaa. Tutkimuksen tehtävänä oli selvittää miten 1930-luvun naisylioppilas rakensi ammattitaidoltaan korkealle noteeratut urat säveltaiteen, koulutuksen ja musiikkikasvatuksen maailmassa. Jakso Suomen evankelis-luterilaisen kirkon ensimmäisenä virkaan vaalilla valittuna urkurinaisena tekee hänestä uranuurtajan, jonka asemaa ja ammattitaitoa ihailtiin ajan lehdistössä. Toisena tehtävänä oli peilata Antila-Kaljusen saamaa koulutusta musiikkikasvatuksen kehitykseen Suomessa. Tutkimus etsii vastauksia myös opettajuuden ja taiteilijuuden vuorovaikutukseen. Metodologisena kehyksenä tutkimuksessa toimii elämänkulkuanalyysi, jonka avulla elämänkaaren aikana toteutuneet siirtymät, mahdollisuudet ja rajoitukset, yhteiskunnan muutokset, ihmissuhteet ja vaihtuvat koulutukselliset ja työhön liittyvät kuviot todennetaan. Esiintyvän muusikon kohdalla kompetenssi ja minäpystyvyys ilmentävät toimijuuden keskeisiä rakennusosia. Muistojen tutkimuksessa käytettiin apuna narratiivien analyysia. Opettajan merkitys, esikuvallisuus ja vaikutus tulevat näkyviin hänestä kerrotuissa muistoissa. Erityisenä löytönä voi pitää mentoriutta, joka näyttää olleen usean opettaja–oppilas-suhteen virityksenä varsinkin jos opiskelija oli musiikkiorientoitunut. Tämän työn antina voidaan pitää opettajan työn arvostuksen ja merkityksen havaitsemista laajemmin kuin vain yhden elämän perspektiivissä. Se tuo myös ilmi miten sota suuntasi sen kokeneen sukupolven elämänkaarta ja valintoja. Työ osoittaa, että taiteilijaksi oli pitkä tie. Lahjakas ja musiikillisesti orientoitunut Antila-Kaljunen sai toteuttaa koulutukselliset ja ammatilliset ambitiot kotimaassaan itsenäisesti rajoituksista riippumatta. Muusikkona ja opettajana toimiminen vaati monipuolisuuden eetosta, joka hänen kohdallaan toteutui hyvyyden ja kauneuden kautta
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Douglass-Chin, Richard J. "Where the spirit leads me : the autobiographical holy foremothers of contemporary African American women's writing /." *McMaster only, 1998.
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Bartlett, R. A. "Wagner and Russia : a study of the influence of the music and ideas of Richard Wagner on the artistic and cultural life of Russia and the Soviet Union 1841-1941." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314938.
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Sahlander, Julhia, and Lovisa Samuelsson. "Artist och Influencer? : En kvalitativ studie om artister och deras möjlighet att implementera influencer marketing i sin marknadsföring." Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101299.
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Research shows that influencer marketing is an effective way to market on social media. Scientists argue that consumers rely on influencers to help them decide on their purchases and guide them through the whole process. In a world where everyone can become an artist, it can be a struggle to stand out among the crowd. This is why this study aims to investigate if influencer marketing can be a new way for artists to reach various audiences and target groups. We want to explore the possibilities for swedish artists to implement influencer marketing as a way of strengthening their personal brand. The empirical data is based on eight different interviews and observations on social media conducted through a period of time of about two months. The average time of the interviews was 37 minutes. The results of this study shows that artists are willing to implement influencer marketing into their lives. This includes doing more collaborations with other influencers and companies. This study shows that there are two ways for an artist to implement influencer marketing into their marketing strategies. An artist can either collaborate with some established influencers and use their platforms to push their music out on social media. This could lead to the artist reaching a new audience and hopefully gain more followers. We also saw that the artist has the possibility to become an influencer in the sense that they collaborate with other brands on their social media platforms. This study shows that there might be risk with connecting your own brand to another but we can not find any major obstacles if the collaboration seems genuine and follows with the artists brand.
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Souliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
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Cette thèse explore l’influence artistique et culturelle de la Grande-Bretagne en Australie, ou les caractéristiques britanniques de l’identité australienne, depuis les années suivant la fin de la Première Guerre Mondiale jusqu’à 1941. La culture australienne de cette période a souvent été décrite comme isolée, voire même « en quarantaine », caractérisée par son acceptation tardive du modernisme. Bien qu’à cette époque la Grande-Bretagne accorde davantage d’indépendance et d’autonomie à ses dominions, l’Australie cherche à maintenir des liens culturels et impériaux en s’identifiant exclusivement à la Grande-Bretagne. Ainsi, pendant cette période, la majorité des Australiens considèrent toujours l’Angleterre comme mère patrie et Londres attire de nombreux artistes australiens expatriés. Pour reprendre les termes de Daniel Thomas, historien de l’art australien, l’Australie développe une identité culturelle dite « bi-hémisphérique Anglo-australienne », imprégnée de nationalisme, de conservatisme et de valeurs patriarcales. Cette thèse examine les échanges artistiques entre l’Australie et la Grande-Bretagne pendant les années 1920 et 1930 et met en lumière les complexités de l’identification culturelle. Elle considère tout particulièrement le fait que l’historiographie nationaliste de l’art australien a passé sous silence le rôle joué par les femmes dans la construction de l’identité nationale et dans la définition d’un art australien. A travers l’analyse des collections nationales d’art britannique et les mécanismes de circulation de l’art moderne britannique en Australie, cette thèse met en avant la dualité de l’identité culturelle australienne et la marginalisation des femmes, non seulement en tant qu’artistes mais aussi en tant que défenseuses culturelles. En mettant l’accent sur l’expérience d’expatriés australiens en Angleterre et comment ceux-ci cherchent à s’intégrer à la scène artistique britannique, cette thèse rend compte de l’importance de l’expatriation en tant que concept contribuant aux historiographies de l’art en Grande-Bretagne et en Australie. Enfin, cette thèse conceptualise le travail de deux Australiennes expatriées, Edith May Fry et Clarice Zander, qui, en tant qu’organisatrices d’expositions, ont considérablement contribué à la dissémination du modernisme en Australie et à la définition de l’identité culturelle australienne pendant l’entre-deux-guerres. L’enjeu de cette thèse est de démontrer les mécanismes qui ont permis à l’Australie de représenter sa propre identité à travers l’art tout en continuant à s’identifier à la Grande-BretagneThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
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Vallès, Eduard 1971. "La influència de l’art català sobre Picasso a través de dues generacions: Santiago Rusiñol i Isidre Nonell com a paradigmes (1897-1904)." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/670359.
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Aquesta tesi tracta sobre la influència que l’art català va exercir sobre Picasso durant els anys que aquest artista va residir a Catalunya. Aquesta influència no es planteja en abstracte sinó que es vehicula a través d’un parell d’artistes concrets, Santiago Rusiñol i Isidre Nonell. La tria és deguda a que van ser els artistes més representatius de les dues generacions amb les que es relacionà Picasso. Santiago Rusiñol pertanyia a la vella generació modernista, de la que era el principal referent. Isidre Nonell, sense ser un líder en sentit estricte, va ser l’artista més emblemàtic de la següent generació, que suposava un trencament respecte als postulats de la generació que representava Rusiñol, de manera que Picasso va evolucionar de la primera cap a la segona. El motiu d’escollir aquests dos artistes és degut a que responen a la condició de “paradigmes”, no només perque entre tots dos abasten bona part dels registres de l’art català del seu temps, sinó per que en alguns casos fins i tot en són els capdavanters.
La recerca s’ha centrat en els diversos nivells d’influència possibles, des de l’exercit pels mateixos artistes de forma directa, fins els que, de manera el·líptica, provenen de les propostes o dicursos que tots dos representaven. Això donarà lloc a que s’eixampli el camp d’estudi, per porositat, cap a altres artistes que puntualment van intersseccionar amb Rusiñol o Nonell i que, d’una u altra manera, van influir sobre l’obra picassiana. Aquesta recerca s’ha realitzat, bàsicament, en base al mètode formal i a l’iconogràfic, en el ben entès que s’ha comparat l’obra dels tres artistes. Tot plegat ha permès descobrir noves influències i, de retruc, noves lectures de l’obra de joventut de Picasso. Però les influències sobre Picasso tenen gairebé sempre una naturalesa multidireccional i, quan es produeixen, no sempre resulten explícites atès que Picasso normalment el·ludeix la còpia directa i empra formes d’apropiació més subtils, que també consignem en aquesta tesi.
Si bé és coneguda la vinculació de Picasso amb l’art català durant els seus anys barcelonins, a dia d’avui no s’havia analitzat amb tanta profunditat la incidència de dues personalitats com Rusiñol o Nonell sobre l’obra picassiana. Malgrat que aquesta tesi estableix una comparativa entre Picasso i dos artistes concrets, l’objectiu final resideix en elaborar un discurs unitari per agragació dels dos cossos teòrics. En definitiva, demostrar com la influència de l’art català sobre Picasso no només fou una realitat sinó que va tenir lloc a través dels seus principals representants i en un grau d’intensitat inconegut fins a dia d’avui.This thesis considers the influence of Catalan art on Picasso during the period when he lived in Catalonia. This subject is explored not in the abstract but through two particular artists, Santiago Rusiñol and Isidre Nonell, chosen because they were the most representative artists of the two generations with which Picasso mixed. Rusiñol belonged to the old Modernista generation and was its leading light. Isidre Nonell was not a leader per se, but he was the most iconic artist of the following generation, which broke with the postulates of Rusiñol’s circle, meaning that Picasso shifted from the earlier to the later generation. The reason for this choice of two particular artists is that they are ‘paradigms’, not just because they encompass many of the registers of Catalan art of their time, but because in some instances they even led them. The research focuses on the various possible levels of influence these artists exercised, from the direct inspiration they gave to the more elliptical stimulus provided by the works and discourses they represented. As a result, the field of study widens to encompass other artists who crossed paths by chance with Rusiñol or Nonell and who, in one way or another, influenced Picasso’s work. Above all, this research has been carried out on the basis of the formal and iconographic method, inasmuch as works by the three artists have been compared. This has revealed new influences and, in consequence, new readings of Picasso’s work in his youth. Nevertheless, the influences on Picasso are in almost all instances multidirectional in nature and, when they occur, they are not always explicit, since Picasso normally avoided direct copying and inclined towards more subtle forms of appropriation, as is also confirmed in this thesis. While Picasso’s link with Catalan art during his years in Barcelona is well known, the impact of Rusiñol or Nonell on his work has not been analysed in any great depth to date. Even though this thesis draws a comparison between Picasso and these two particular artists, the ultimate aim is to formulate a single discourse combining two bodies of theory. In short, the goal is to demonstrate that the influence of Catalan art on Picasso was not just a reality but that it was transmitted through its two luminaries and was of a hitherto unknown strength.
Esta tesis trata sobre la influencia que ejerció el arte catalán sobre Picasso durante los años en que este artista residió en Catalunya. Esta influencia no se plantea en abstracto sino que se vehicula a través de dos artistas concretos, Santiago Rusiñol e Isidro Nonell. La elección se debe a que fueron los artistas más representativos de las dos generaciones con las que se relacionó Picasso. Santiago Rusiñol pertenecía a la vieja generación modernista, de la que era su principal referente. Isidre Nonell, sin ser un líder en sentido estricto, sería el artista más emblemático de la siguiente generación, que suponía una ruptura respecto a los postulados de la generación que representaba Rusiñol, de manera que Picasso basculó de la primera hacia la segunda. El motivo de escoger dos artistas concretos es debido a que ostentan la condición de “paradigmas”, no sólo porque entre ambos abarcan buena parte de los registros del arte catalán de su tiempo, sino porque en algunos casos incluso los lideran. La investigación se ha centrado en los diversos niveles de influencia posibles, desde el ejercido por los propios artistas de forma directa, hasta el que, de manera elípitica, procede de las propuestas o discursos que ambos representaban. Ello provocará que el campo de estudio se ensanche, por porosidad, hacia otros artistas que eventualmente interseccionaron con Rusiñol o Nonell, y que de una manera u otra influyeron sobre la obra picassiana. Esta investigación se ha realizado, sobretodo, en base al método formal y al iconográfico, en la medida que se han comparado obras de los tres artistas. Ello ha permitido descubrir nuevas influencias y, en consecuencia, nuevas lecturas de la obra de juventud de Picasso. No obstante, las influencias sobre Picasso tienen casi siempre una naturaleza multidireccional y, cuando se producen, no siempre son explícitas pues normalmente Picasso elude la copia directa y tiende hacia formas de apropiación más sutiles, que también consignamos en esta tesis. Si bien es conocida la vinculación de Picasso con el arte catalán durante sus años en Barcelona, a dia de hoy no se había analizado con tanta profundidad la incidencia de dos personalidades como Rusiñol o Nonell sobre la obra de Picasso. A pesar de que esta tesis establece una comparativa entre Picasso y dos artistas concretos, el objectivo final consiste en elaborar un discurso unitario por agregación de dos cuerpos teóricos. En definitiva, demostrar que la influencia del arte catalán sobre Picasso no tan solo fue una realidad sino que se vehiculó a través de sus principales representantes y en un grado de intensidad hasta hoy desconocido.
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Dolack, Thomas William. "Literary ventriloquism : Pound, Celan, Mandelstam and twentieth-century poetic translation /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404336851&sid=5&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 276-292). Also available for download via the World Wide Web; free to University of Oregon users.
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Roege, Gayle B. "Experience, Time, and Opportunity: An Exploratory Case Study Regarding The Artistic Journeys of Middle School Adolescents and their Perceptions of the Influence of Environmental Factors on The Development of their Visual Art Talent in Rural Montana Communities." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1463428528.
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Artistic talent is critical to offering creative contributions to society’s challenges and opportunities (in balance with technical, business, and other domains). Emphasis on art experiences and skills is missing in school programs, due to financial and accountability constraints, and encouraging prioritization on “core” subjects. Rural environments present particular challenges: while they are identified as fertile ground for developing a creative class, low population density makes it difficult to provide substantial support for in-depth exploratory, experiential creative endeavors. A crucial element of maintaining personal commitment to one’s talent area is support. While support from the family is essential, the value a community (which includes the school) places on any talent domain largely impacts the individual developmental trajectory for that talent—especially in teenagers. This study was conducted to explore the perceptions of individual talent among artistically gifted adolescents in rural communities in the U.S., and concluded that immediate and extended families provided adequate levels of support for the adolescents to remain committed to their talent and that a critical factor associated with school and community support is missing: the time necessary to devote to development of that talent. The study offers the opportunity to open a dialogue related to research on the marginalization of visual thinkers (of which the artistically gifted are a sub-group); to apply the findings to the current climate in education; and to establish collaborative efforts to promote artistic talent development in answer to the demand for art and design thinking, innovation, and creativity on a global scale.
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Röstorp, Vibeke. "Les artistes suédois et norvégiens en France de 1889 à 1908 : le mythe du retour." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040146.
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Cette thèse porte sur les artistes suédois et norvégiens en France de 1889 à 1908. Ces années ont traditionnellement été considérées comme une période de retour au pays et d’abandon de la France pour les artistes scandinaves qui se seraient tournés de nouveau vers Paris seulement en 1908 avec l’arrivée des élèves d’Henri Matisse. Une étude approfondie de leur présence aux Salons parisiens a été menée afin de constater que leur nombre ne baisse pas et que les départs des uns sont aussitôt comblés par l’arrivée d’autres artistes scandinaves. À travers l’examen de la taille et de l’activité de cette communauté d’artistes installés en France durant ces deux décennies, dites nationalistes, il s’avère que l’hypothèse du retour vers la Scandinavie dans les années 1890 est un mythe créé par une historiographie faussée. La plupart des artistes scandinaves expatriés en France de 1889 à 1908 menèrent des carrières couronnées de succès dans un environnement cosmopolite et international. Les raisons de la mauvaise interprétation de cette période de l’histoire de l’art scandinave ont été analysées à travers les ouvrages d’histoire de l’art anciens et actuels. D’autres investigations ont été entreprises, basées sur la correspondance de ces artistes principalement conservée à l’Académie Royale des Beaux-Arts de Suède et dans les archives d’Auguste Rodin, ainsi que sur l’étude de leur accueil critique en France. Elles démontrent que la colonie scandinave de Paris de ces années-là a été exclue des expositions organisées en France par leurs propres pays et que la carrière de ces artistes expatriés, ainsi que le rôle de la France, ont été minimisés dans l’histoire de l’art scandinaveThis dissertation is about the presence of Swedish and Norwegian artists in France during the years 1889 to 1908. Traditionally these years have been considered as a period when Scandinavian artists left France to return to their homelands and according to this traditional view, they only returned to Paris and French influence with the arrival of Henri Matisse’s students around 1908. A thorough study of their presence in the Parisian Salons has been conducted which determines that their numbers do not decrease and that the departure of certain Scandinavian artists was balanced by the arrival of others. By examining the size and the activity of this artistic community in France during these two so-called nationalistic decades, it appears in fact that the hypothesis about the return to Scandinavia in the 1890’s is a myth created by a distorted historiography. Most Scandinavian expatriate artists living in France between 1889 and 1908 led successful careers in a cosmopolitan and international environment. The reasons for the misinterpretation of this period in Scandinavian art history have been analysed using historical and current texts and art history handbooks. Further investigation based on the correspondence of these artists, kept chiefly by the Royal Swedish Academy of Fine Arts and in the archives of Auguste Rodin, as well as the study of their critical reception in France, have shown that the Parisian colony of Scandinavian artists has often been excluded from exhibitions organized in France by their home countries and that the career of these expatriate artists as well as the role of France during this period has been minimized in Scandinavian art history
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Imbert, Isabelle. "La peinture de fleurs persane et indienne de la période moderne (XVIe-XVIIIe siècles)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040170.
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Le présent travail porte sur les peintures de fleurs produites en Iran et en Inde entre le XVIe et le XVIIIe siècles et destinées à être montées dans des albums alliant peintures et calligraphies. Cette étude s'organise autour de trois axes de recherche. En premier lieu, l'étude de l'évolution des pratiques picturales au sein des ateliers de peinture, ainsi que la mise en évidence des différences formelles entre les centres de production. La taxonomie des peintures de fleurs a permis de mettre en évidence certains régionalismes, mais également des modes de représentation partagés entre l'Iran safavide (1501-1722), afshar (1736-1749) et zānd (1750-1794) d'un côté, et l'Inde moghole (1526-1857) et les cours provinciales de l'autre. Le second axe de recherche est consacré aux échanges entre l'Orient et l'Occident. Plusieurs peintures de fleurs persanes et indiennes sont issues d'herbiers et florilèges, imprimés en Europe à partir du XVe siècle. L'étude de l'apport européen dans ces productions de peintures permet de mettre en évidence les pratiques d'assimilation des formes exogènes par les artistes. Enfin, le troisième axe interroge le rôle tenu par les peintures de fleurs au sein des albums, ou muraqqaʻ. La compilation d'albums est attestée en Iran dès le XVe siècle, et passe vraisemblablement en Inde durant la première moitié du XVIe siècle. Les fleurs s'y déploient progressivement jusqu'à devenir omniprésentes, autant au centre des pages que dans les marges et sur les reliures. Les représentations florales revêtent des symboliques diverses qui sont à mettre en relation avec un abondant corpus poétique, mais également avec les patrons persans, indiens ou européens qui commandent ces précieux volumes. Parmi les conclusions, notons les attributions de dessins anonymes au peintre persan Shafīʻ ʻAbbāsī et une discussion sur les notions de copie et d'interprétationThis dissertation focuses on flower paintings produced in Persia and India between the 16th and the 18th centuries to be mounted in albums, also called muraqqa'. This study is centered on three research axis. First, pictorial practices are analyzed, as well as the general evolution of floral forms on album pages. The taxonomic approach on flower paintings led to highlight regionalisms, but also depiction modes shared between Safavid (1501-1722), Afsharid (1736-1749) and Zand (1750-1794) Persia on one hand, and Mughal India (1526-1857) and Indian provincial courts on the other. The second line of research focuses on cultural and artistic exchanges between the East and the West. Many Persian and Indian flower paintings are copied from European printed herbaria and florilegia from the 15th century. The study of European input on these productions highlights assimilation practices of foreign forms. The third axis questions the role held by flower paintings in albums, or muraqqa'. From the 15th century, flowers gradually spread to become omnipresent in the center of the pages, in the margins and on the bindings. Floral representations take various symbolic values linked to an abundant poetic corpus, but also to Persian, Indian or European patrons who order these precious volumes. Among the conclusions, this thesis suggests new attributions of anonymous drawings to the Persian painter Shafīʻ ʻAbbāsī, and holds a discussion about concepts of copy and assimilation
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Lai, Victor Ming Hoi. "The influences of Taoism on postwar American abstract expressionism (1940s-1960s)." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274225.
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Sweeney, Dwight Paul. "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2823.
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Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.
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Pace, Carla Renee. "Awakening the Artistic Sout: A Personal Journey Inspired by Modern Drama and Fine Art." Ohio Dominican University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=odu1403221946.
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Pretorius, Annette Sophia. "The influence of painting on the artist's visual perception." Thesis, University of Pretoria, 1998. http://hdl.handle.net/2263/57928.
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Die doel van die tesis is om vas te stel of skilder die skilder se
visuele waameming beinvloed. In die eerste plek om hierdie
stelling te bewys, moet kousaliteit bewys word. Twee moontlikhede
van kousaliteit bestaan. Die eerste moontlikheid wat oorweeg word
is dat skilder die kunstenaar se visuele waameming beinvloed. As
voorbeeld word Pablo Picasso se 'Guemica' bespreek. Hierdie
skildery word deur die kunstenaar ervaar as 'n geldige visuele
weergawe van die realiteit al is dit nie 'n realistiese weergawe van
die gebeurtenis nie. Die tweede moontlikheid van kousaliteit wat
oorweeg is, is dat die skilder visuele waarneming gebruik om die
werklikheid te interpreteer. As voorbeeld word Hendrik Piemeef se
werk bespreek.
In die tweede plek word die ooreenkomste tussen skilder en visuele
waameming ondersoek om te bepaal of analogiese gevolgtrekkings
gemaak kan word ten opsigte van visuele waarneming deur middel
van 'n studie van skilder. Ooreenkomste word gevind tussen die
strukturele elemente van visuele waameming en die formele
eienskappe van skilder. Albei bestaan uit lig, kleur, diepte en vorm.
Verskille tussen die strukturele elemente van visuele waarneming
en die formele eienskappe van skilder, behels die moontlikede vir
interpretasie wat uitgeoefen word of nie noodwendig uitgeoefen
word nie. Dus: wanneer die kunstenaar 'n voorwerp waarneem en
die formele eienskappe aanwend om 'n skildery te maak, ervaar hy
dit as 'n geldige interprestasie van die werklikheid. In kotras is die
reaksie op die strukturele eienskappe van visuele waameming 'n
fisiologiese proses en die waamemer is nie noodwendig bewus van
'n interpretatiewe proses nie.
'n Historiese oorsig van die ontwikkeling van skilder en die
ontwikkeling van teoriee van visuele waameming word gegee. Elke
era maak 'n bydrae ten opsigte van die analogie wat getref word
tussen die twee onderwerpe.
Die teorie van visuele waameming wat waameming beskryf as
gefragmenteerd, is sentraal tot die skripsie. Aspekte van
samevoeging ten opsigte van gefragmenteerde waameming word
analogies aan die skilderkuns se integrasie van die formele
eienskappe, onthaal.
Die spekulatiewe sienings van Goldman-Rakic en Peterson ten
opsigte van samevoeging in visuele waameming word vergelyk met
die eienskappe van samevoeging wat analogies uit die skilderkuns
afgelei is.
Hierdie skripsie se gevolgtrekking is dat samevoeging in die skilder
se visuele waameming 'n aktiewe sentrale meganisme is wat nierelevante
detail uitskakel. Peterson se siening word dus
ondersteun. Die bydrae van hierdie skripsie is dat eienskappe van
binding in die skilder se visuele waarneming deur aspekte van die
skilderkuns beskryf word. So is een aspek van die skilderkuns,
naamlik die wisseling in die volgorde van die formele eienskappe,
deurslaggewend in skilder en die konsep is analogies toegepas in
visuele waameming. Hiervolgens word fisiologiese visuele
waameming beskryf as 'n visuele gebeurtelikheid of die gevolge
van sekere omstandighede soos wat 'n skildery 'n gebeurlikheid is
wat omstandighede weerspieel.
.The aim of this thesis is to determine if painting can influence the painter's visual perception. The nature of the research is exploratory. The possibility of causality needs to be proven. Two possibilities of causality exist. The first possibility is that painting can influence the artist's visual perception. Pablo Picasso's 'Guemica', for example, is experienced as a valid visual representation of reality by the artist although it is not a realistic depiction of the event. The second possibility is that the painter uses visual perception to interpret reality. The similarities between painting and visual perception are explored to determine if analogous inferences regarding visual perception can be made from a study of painting. Similarities are found between the structuring elements of visual perception and the formal properties of painting. Both the structuring elements and the formal properties consist of light, colour, depth and shape. Differences between the structuring elements of visual perception and the formal properties of painting are found in the interpretative possibilities that exist or does not necessarily exist. When the artist looks at a subject and applies the formal properties to make a painting he experiences this as being a valid interpretation of reality. In contrast the reaction to the structuring elements of visual perception is a physiological process and the viewer need not necessarily be aware of the interpretative process. Historical overviews regarding the development of painting and the development of theories of visual perception are given. Each historical era added elements to the field of visual perception and painting that contribute to an analogy between the two subjects. The similarities between visual perception and painting warrant an analogy between the two. Recent advances in the study of visual perception exposed the fractured nature of visual perception. This poses the problem of binding in the visual perceptual process. Analogous inferences drawn from painting regarding the binding mechanism in visual perception, favour one researcher's point of view rather than another's. The viewpoint held in this thesis is that painting influences the visual perception of the artist. The artist seeks meaning through visual perception. Painting necessitates visual differentiation and choice. Imaginative value is added to visual perception through the choices made by the painter in his depiction. This viewpoint is not valid when visual perception does not seek meaning. The particular contribution of this thesis as far as the artist is concerned lies in the analogy that can be drawn through physiological visual perception as a consequential perceptual happening and the consequential construction of paintings.
Thesis (PhD)--University of Pretoria, 1989.
Visual Arts
PhD
Unrestricted
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Grenier, Marlène. "Les artistes propagateurs de l'idéal allemand en art pictural et en sculpture au Canada au XIXe siècle." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26215.pdf.
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Benbalit, Tatiana I. "The shaping of Modest Moussorgsky's musical language : an assimilation of social, artistic and folk influences /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11252.
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Lima, Luiz Fernando Martins de [UNESP]. "A recepção crítica de Harold Bloom no meio acadêmico brasileiro." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94043.
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lima_lfm_me_assis.pdf: 697871 bytes, checksum: 0bbe9220f62fcc4c0238339196d33e3c (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Harold Bloom (1930) é, para muitos, o crítico norte-americano de maior destaque nos estudos literários da atualidade. Sua teoria da influência, além de possuir sua própria retórica, resgatou à literatura seus aspectos mais subjetivos. O presente trabalho tem por objetivo empreender uma leitura de dissertações e teses acadêmicas brasileiras que tenham lançado mão da teoria da angústia da influência e seu mapa de desleitura, ou que discutam temas como o cânone literário, tão usualmente associado à figura do professor de Yale, enfático debatedor desse assunto. Para esse propósito foi feito o levantamento do corpus por meio de uma pesquisa nos principais sites e bancos de dados científicos brasileiros, como a Plataforma Lattes e o Banco de Tese da CAPES, e estabelecido os critérios de análise com base nas teses e dissertações que compõem esse corpus. A leitura desses trabalhos acadêmicos buscou identificar em que medida o crítico norte-americano está sendo lido no meio acadêmico brasileiro e compreender qual a amplitude dessas leituras. Por conseguinte, esta dissertação tem o intuito de entender qual a relevância das idéias de Bloom para o intelectual brasileiro da área de Letras.
Nowadays, Harold Bloom (1930) is, to many, the North-american critic of major projection in literary studies. His theory of influence, besides to have its own rhethorics, brought back to literature its more subjective aspects. The present work has as its objectives to engage in a reading of Brazilian academic dissertations and thesis which have made usage of the theory of anxiety of influence and his map of misreading, or which discuss themes as the literary canon, so usually associated to the professor of Yale´s figure, an emphatic debater of this subject. With this purpose in mind it was made the survey of the corpus through a research in the main Brazilian scientific websites and databases, like Plataforma Lattes and CAPES thesis database, and it was established the criteria of analysis based upon the thesis and dissertations which compound this corpus. The reading of these academic works sought to identify in what extent the North-American critic is been read in Brazilian academic environment and comprehend how wide have been these readings. Therefore, this dissertation has as its aim to understand how relevant to the Brazilian scholar of Language and Literature the ideas of Bloom area.
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Hockley, Allen F. "Harunobu : an Ukiyo-e artist who experimented with Western- style art." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/28070.
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From the beginning of serious art historical study of Japanese woodblock prints or Ukiyo-e, the artist Suzuki Harunobu (1725-1770) has been accorded a prominent position in the development of that art form primarily because of his role in the creation of the first full colour prints. This, and his particular conception of feminine beauty which he chose to illustrate most often as the main subject of his art, made him the dominant artist of his generation. The popularity he achieved during his lifetime was monumental, but he met with a premature and untimely death. Shortly after his death Shiba Kōkan (1747-1818), a young artist just beginning his career, made forgeries of Harunobu's prints and later admitted to doing so in his autobiography. Based on Kōkan's confession, there developed among art historians and connoisseurs, a long running, at times heated and, as yet, unresolved debate focussed upon determining which of Harunobu's prints are in fact forgeries.
Because Kōkan eventually acquired fame as an artist who experimented with styles and techniques newly imported to Japan from Europe, Harunobu's prints that contain linear perspective, one such Western technique, have traditionally and without question been designated as forgeries. To this author, making such an attribution based on this criterion seems somewhat illogical. Why would Kōkan introduce something foreign to Harunobu's style into prints he intended to pass off as Harunobu's originals? The simplest resolution to this quandary is to assume that Harunobu must have also been experimenting with imported European styles.
Based on this premise, this thesis introduces literary and visual evidence linking Harunobu to a number of sources of European-style art. Much of this evidence was uncovered through a re-examination of Harunobu's prints and literary accounts of his life in accordance with the social and artistic context in which he worked. The prints and the documents which this thesis discusses have long been known to art historians. They simply needed to be reworked to support this premise.
This thesis does, however, introduce one print from the collection of the Oregon Art Institute which seems to have been overlooked by other scholars. It provides a clear example of Harunobu's Western-style art and through visual analysis of it, its sources can be identified among the Western-style megane-e of Maruyama ōkyo ( 1733-1795).
The concluding section of this thesis examines the consequences
of this evidence. Two of the so-called forgeries are reattributed to Harunobu and his prints as a whole are recast within the tradition of Western-style art in Japan.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Sarrat, Yoann. "Transgression et littérarité : l’oeuvre de Pierre Guyotat et son influence sur les milieux artistiques et littéraires." Thesis, Université Clermont Auvergne (2017-2020), 2017. http://www.theses.fr/2017CLFAL009/document.
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Cette thèse propose des réflexions autour de l’œuvre de Pierre Guyotat et des réactions qu’elle provoque ou a provoquées chez d’autres artistes, notamment en lien avec son actualité et ses récentes activités de 2013 à 2016. Nous utilisons deux questions théoriques qui, mobilisant différents champs d’étude, permettent d’établir et d’étudier les possibilités multiples propres à cette œuvre et qu’elle suscite : la transgression et la littérarité. D’abord, ce travail analyse le décloisonnement opéré par l’artiste – réfutant la dénomination réductrice d’écrivain – des mots et des topoï de la littérature, à travers ce qu’il nomme ses « figures », notion qui a une histoire tout à fait particulière dans l’analyse textuelle comme dans son travail et sa pensée. Ensuite, nous explorons les divers corpus – recueils, expositions, Enfer de la Bibliothèque Nationale – dans lesquels s’inscrit cette œuvre et les dialogues qu’elle entretient avec d’autres travaux, artistes et mouvements d’avant-garde (actionnisme viennois, art corporel, butô). Nous proposons une analyse d’une période charnière, transgressive, où la fiction entre par effraction dans la réalité de l’auteur qui se trouve décharné et physiologiquement attaqué jusqu’au coma avant de « renaître » sur scène. C’est l’épreuve, multiple et polysémique, de l’œuvre, incarnée dans la fiction par Samora Mâchel, figure dont le texte est encore inédit aujourd’hui. La scène constitue l’un des lieux d’exploration du second temps de cette réflexion où nous mettons en évidence de quelles façons la matière écrite guyotatienne en épouse les contours et rencontre d’autres artistes singuliers, considérant ainsi qu’une œuvre originale, créatrice et transgressive est une œuvre qui rend les autres artistes créateurs et originaux à leur tour. Cette seconde partie de la réflexion permettant de joindre la théorie à la pratique en étudiant des spectacles vivants, de la genèse aux représentations et en en interrogeant les acteursThis thesis proposes reflections on the work of Pierre Guyotat and responses it generates or has generated, especially through his actuality and his recent activities from 2013 to 2016. We use two theoretical issues which, by mobilizing various study fields, make it possible to establish and study the multiple possibilities specific to this work and which it raises: transgression and literarity. Firstly, this work analyzes the decompartmentalisation performed by the artist – who refuses the reductive denomination of “writer” – of words and literature topoï, through what he call his “figures”, notion which has a specific story in textual analysis as well as in his work and way of thinking. Afterward, we explore the various corpus of documents – collections, exhibitions, the Inferno of National Library of France – which contains his work and possible dialogues with other avant-garde works, artists and movements (Viennese Actionnism, body art, butô). We propose an analysis of a pivotal and transgressive period when the fiction breaks into the author’s reality who find himself emaciated and physiologically attacked up to a state of coma before being “reborn” on stage. This is the challenge, multiple and polysemous, of this work, embodied in fiction by Samora Mâchel, a figure whose text remains still unpublished. The stage is one of the places to be explored in this secondary phase of reflection where we highlight in what ways the writing material of Pierre Guyotat will follow the outlines and meet other singular artists, considering that an original work, creative and transgressive, makes other artists original creators in turn. This second part of the reflection allows the junction between theory and practice by studying performing arts, from genesis to representation, and by questioning the artists
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Mottram, J. "Critical concepts and change in painting : The relationship of influence." Thesis, Manchester Metropolitan University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383647.
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Casoni, Mariana Mansano. "Um filósofo na rua Erê : presença de Pascal em O amanuense Belmiro, de Cyro dos Anjos /." Assis, 2013. http://hdl.handle.net/11449/94057.
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Orientadora: Daniela Mantarro CallipoBanca: Ana Paula Franco Nóbile Brandileone
Banca: Marcio Roberto Pereira
Resumo: Em 1937, Cyro dos Anjos publica sua obra de estreia: O amanuense Belmiro, que aborda temas referentes ao homem, à sociedade, à vida. Cyro reflete sobre estas questões de um modo diferente do que estava sendo produzido naquele momento no país, visto se preocupar mais com o indivíduo e seus conflitos do que com a sociedade. A narrativa se desenvolve com leveza e lirismo e é envolta em filosofia, sobretudo, a do filósofo francês Blaise Pascal. A partir dela, é possível pensar os conflitos que cercam o homem, como suas misérias, suas paixões, sua existência desprovida de sentido. A filosofia de Pascal é delineada por meio das discussões entre Belmiro e Silviano que, com frequência, abordam os temas que Pascal discute em sua obra Pensées, publicada em 1670. Por meio de suas reflexões e atitudes, é possível observar a presença da paródia, sobretudo quando Belmiro questiona a respeito de como conduzir a vida, da filosofia, bem como o papel do intelectual na sociedade. Esta dissertação visa fazer uma análise da marcante presença de Pascal em O amanuense Belmiro, de Cyro dos Anjos, tendo em vista as discussões entre os personagens, no decorrer do romance, a respeito do filósofo francês. Embora as marcas francesas sejam numerosas na primeira obra escrita pelo autor mineiro, Pascal se destaca pela expressiva quantidade de alusões e citações retiradas de Pensées. Pretende-se compreender a importância dessa presença e o papel que ela desempenha em O amanuense Belmiro, por meio do confronto entre a obra francesa e a brasileira, destacando suas semelhanças e diferenças e buscando hipóteses para explicar o diálogo intertextual estabelecido com o moralista francês
Résumé: En 1937, Cyro dos Anjos publie sa première oeuvre: O amanuense Belmiro, dont les sujets abordés sont concernant à l'homme, à la société, à la vie. Cyro réflèche cettes questions d'une façon différent desquelles on avait eu produit dans ce moment là dans le pays, à cause qu' il se préoccupe plus avec l'individu et ses conflits que la société. Le récit se développe avec légèreté et lyrisme, envoleppée de philosophie, surtout, du philosophe Blaise Pascal. A partir d'elle est possible penser aux conflits qui entoure l'homme, comme ses misères, ses passions, son existence dépourvue de sense. La philosophie de Pascal est esquissée au travers de discussions entre Belmiro et Silviano, que, fréquemment abordent les sujets que Pascal discute dans son oeuvre Pensées, publiée en 1670. Par cettes reflexions et attitudes, est possible observer la présence de la parodie, surtout quand Belmiro débattre par rapport à comme conduire la vie, de la philosophie, ainsi que le rôle du inttelectuel dans la société. Cette dissertation visa fazer une analyse de la notable presence de Pascal en O amanuense Belmiro, de Cyro dos Anjos, tendo em vista les discussions entre les personnages, au cours du roman, par rapport la philosophe français. Quoique les marques françaises soient nombreuses dans la première oeuvre écrit par l'auteur mineiro, Pascal se dégage pour l'expressive quantité de allusions et citations retirer de Penseés. On l'intention de comprendre l'importance de cette presence et le rôle qu'il desempenha en O amanuense Belmiro, par ce confrontation entre l'oeuvre française et la brésilienne, en dégagent ses ressemblances et différences et en cherchent hypothèses pour expliquer le dialogue intertextuel établit avec le moraliste français
Mestre
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Peltre, Christine. "Le voyage de Grèce des artistes français : du retour à l'antique au culte de la Méditerranée (1780-1939)." Paris 4, 1993. http://www.theses.fr/1993PA040199.
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Cette recherche detaille, a l'aide de documents restes souvent confidentiels comme les lithographies ou les portefeuilles de dessins, les relations entretenues par les peintres avec la grece "retrouvee" depuis la fin du xviiie siecle. La confrontation entre le mythe qui inspira longtemps l'art occidental et la realite du pays est marquee d'abord par l'enthousiasme des pionniers, de choiseul-gouffier a louis dupre, dont les images nourrissent le philhellenisme qui connait en france vers 1825 un rayonnement exceptionnel. L'interet pour les antiquites, la grece franque et byzantine vont jusqu'au milieu du siecle attirer les artistes dont l'inspiration s'essoufle au moment du "mishellenisme" : une etude detaillee du voyage vers 1850 en souligne les raisons. L'eveil progressif de la grece, les decouvertes archeologiques nombreuses a partir de 1870 transforment peu a peu cette deception jusqu'a l'exaltation du xxe siecle ou le corbusier et leger admirent la "maigreur" du paysage comme les sculptures archaiques. Cette recherche souhaite introduire l'histoire du voyage dans l'evolution artistique, avec la reaction des peintres devant les paysages, les habitants, les vestiges antiques, refletant ainsi les mentalites du moment et l'influence de ces decouvertes sur les creations contemporainesBASED ON DOCUMENTS WHICH ARE OFTEN KEPT CONFIDENTIAL -LIKE LITHOGRAPHS, OR DRAWING PORTFOLIOS - THIS research-WORK SHOWS IN GREAT DETAIL THE RELATIONS THAT PAINTERS ENTERTAINED WITH A GREECE WHICH WAS "REDISCOVERED" AT THE END OF THE 18TH CENTURY. CONFRONTING THE MYTH WHICH, FOR A LONG TIME, WAS A SOURCE OF INSPIRATION FOR WESTERN ART TO WHAT THE COUNTRY WAS REALLY LIKE FIRST BROUGHT ABOUT THE PIONEERS' ENTHUSIASM, FROM CHOISEUL-GOUFFIER TO LOUIS DUPRE ; THEIR PICTURES NURTURED THE PHILHELLENISM WHICH HAD AN EXCEPTIONAL INFLUENCE IN FRANCE ROUND 1825. UNTIL THE MIDDLE OF LAST CENTURY, THE INTEREST IN ANTIQUITIES AS WELL AS IN FRANKISH AND BYZANTINE GREECE WAS TO ATTRACT ARTISTS WHOSE INSPIRATION LOST SOME OF ITS MOMENTUM WHEN "MISHELLENISM" SET IN : A DETAILED STUDY OF THE JOURNEY ROUND ABOUT 1850 CLEARLY SHOWS WHY. THE GRADUAL AWAKENING OF GREECE, THE NUMEROUS ARCHEOLOGICAL FINDS MADE FROM 1870 ON PROGRESSIVELY TURNED THAT DISAPPOINTMENT INTO THE 20TH CENTURY EXALTATION, THAT LED LE CORBUSIER AND LEGER TO ADMIRE BOTH THE "THINNESS" OF THE LANDSCAPES AND ARCHAIC SCULPTURES. THE PRESENT RESEARCH-WORK AIMS TO INTRODUCE THE HISTORY OF THE JOURNEY INTO ARTISTIC DEVELOPMENTS, ALONG WITH PAINTERS' REACTIONS WHEN CONFRONTED WITH LANDSCAPES, PEOPLE, AND ANTIQUE RUINS ; IT WILL THUS MIRROR THE MENTALITIES OF THAT TIME AND THE INFLUENCE THESE DISCOVERIES HAD ON CONTEMPORARY WORKS OF ART
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Long, Olivier. "L’oeuvre comme exercice spirituel, l’inspiration stoïcienne des artistes, l’exemple de Poussin et de Cézanne." Paris 10, 2007. http://www.theses.fr/2007PA100113.
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L’objet de cette thèse est de montrer comment des artistes se sont approprié le stoïcisme ancien (grec et romain). Le stoïcisme est une philosophie fondée sur la continuité physique de l’univers. Cézanne et Poussin sont des peintres qui ont fait œuvre à des époque de rupture. Notre propos est de d’interroger le néostoïcisme de ces artistes en faisant appel à l’étude des sources littéraires et artistiques antiques qui les ont inspirés. Les deux exemples que nous avons choisi nous permettent de déterminer ce qui définit le néostoïcisme de ces artistes : un certain rapport à la nature, une alternative à la représentation au sein même d’une tradition de la représentation, une éthique de résistance liée à des techniques d’ascèse, une pratique concrète de la tension qui met le geste au cœur de la pratique artistique, une tentative pour intensifier l’œuvre à partir d’une physique de la tension comme de l’attentionThe purpose of this thesis is to show how artists took over the ancient version of both Greek and Roman stoicism. Ancient stoicism is a philosophy based on the physical continuity of the universe. Cézanne and Poussin were painters who lived at a time marked by a break with traditions. Our purpose is to examine the neostoicism of those painters by studying the antique literary and artistic sources which might have inspired them. Focusing on the two examples we chose to analyse enables us to define what stoicism means as regards the artists; a specific relationship with nature, an alternative to representation within a traditional idea of representation, a code of ethics of resistance related to ascetic techniques, a practical implementation of tension which emphasizes the role played by gesture as the core of artistic creativity, an attempt at intensifying the work of art thanks to a physical tension as well as a physical attention
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Serrano, Manchón Miguel Angel. "The Impact of Artists on consumer's behavior : A study on how artists influences on consumer's purchasing behavior in latin countries." Thesis, Jönköping University, IHH, Redovisning, Marknadsföring, SCM, Informatik och Rättsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-54619.
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Background: We currently live in a time when consumers trust more on social media and less on traditional advertising as a source of information for their purchasing decisions. Social media and traditional advertising must be integrated somehow so that marketers can communicate more effectively with their target market. In this investigation, the influence of music influencers on consumer behavior is analyzed, getting to the conclusion that the benefits of influencer and social media marketing increases customer experience and credibility, as it gives a brand the ability to communicate with its customers and develop a long-term relationship. The music resource is combined with the influence of the artist's personality to generate strategies that are effective but not totally rewarded by the consumers. Purpose: The purpose of this study is therefore to explore what influence Latin American artists have on the behaviour of Latin American consumers and how companies can use these motivations to structure their own marketing campaigns. Method: In order to carry out the following research work, the following stages are proposed: Firstly, a theoretical framework will be elaborated using the methodology of literature review, secondly a qualitative research which will consist of an empirical analysis the instrument chosen for this is an interview with a professional in the sector. And finally quantitative research The survey is the instrument chosen to collect the information that will drive the quantitative research proposed for this study. Conclusion: The results suggest that artists have an influence on the purchasing behaviour of Ibero-American consumers. By establishing connections between literature review, empirical data and surveys, a significant relationship was found that affirms the theory. The study reveals evidence that consumers in general can be influenced by music as a formative variable of the environment or atmosphere. The benefits of influencer and social media marketing increases customer experience and credibility, as it gives a brand the ability to communicate with its customers and develop a long-term relationship. The music resource is combined with the influence of the artist's personality to generate strategies that are effective but not totally rewarded by the consumers. From there, marketers should take this research into account when implementing artists in their campaigns in Latin America.
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Hachmeister, John. "Pluralism and the hard sell historically unique influences on young artists today." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9845.
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Jenkins, Kyle. "The cold war : the politics of being inside and outside a visual art space." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/3966.
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Roper, Robyn Christine. "Traditional arts, contemporary artists a study of influence and change in Irian Jaya, Indonesia /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ44787.pdf.
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Dascal, Elana. "Reading midrash as graphic artistic activity, the compilations of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ43850.pdf.
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Dascal, Elana. "Reading Midrash as graphic artistic activity : the compilation of Midrash Rabbah as possible influences on early Jewish and Christian art." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28257.
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Midrash is a genre of rabbinic Bible exegesis, composed by various authors and compiled in anthologies during the first seven centuries of the Common Era. This thesis explores the reading of Midrash and its possible influence on early artistic activity. Examples of early Jewish and Christian biblical representations that display some degree of midrashic impact, are presented in order to establish the existence of a relationship between Midrash and art. Finally, by a systematic reading of the corpus of midrashic literature found in Midrash Rabbah, Midrashim that suggest graphic representation, but which have not yet to been found among early art forms, are categorized and analyzed.
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Fornasiero, Alice <1989>. "Influenze venete nella pittura boema. Dipinti di Jacopo Tintoretto nel castello di Praga, artisti boemi a Venezia." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3109.
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Il soggetto della presente tesi magistrale è stato concepito durante il mio soggiorno a Praga, dove sono rimasta particolarmente colpita dai dipinti veneti presenti nella galleria del castello di Praga.
Ho voluto concentrare la mia ricerca in particolare sui dipinti di Jacopo Tintoretto che sono passati nelle collezioni del castello di Praga: da quelli direttamente commissionati all’artista da Rodolfo II, a quelli che vi sono arrivati successivamente con l’acquisto della collezione dei duca di Buckingham da parte dell’arciduca d’Austria Leopoldo Guglielmo dopo il 1649.
Il risultato è un nucleo totale di circa tredici dipinti eseguiti da Jacopo Tintoretto di cui oggi soltanto tre sono rimasti nel castello: la Flagellazione di Cristo, l’Adorazione dei pastori e il Cristo e l’Adultera.
Basandomi principalmente sulla Guida del Castello di Praga di J. Neumann, ho cercato di ricostruire il percorso dei singoli dipinti definendo il periodo in cui sarebbero rimasti nel castello di Praga e quindi avrebbero potuto essere visti da altri artisti come Karel Škreta e Petr Brandl.
Nei capitoli successivi spazio è dedicato ai rapporti intercorsi tra Rodolfo II e i pittori veneti, nonché a ribadire l’assoluto apprezzamento della pittura veneta da parte dell’imperatore, in particolare facendo riferimento alle sue commissioni a Paolo Veronese e probabilmente a Jacopo Tintoretto e alla cospicua presenza di pittori veneti nelle sue collezioni.
Nei capitoli successivi si è approfondita l’influenza della pittura veneziana su artisti del Barocco boemo, in particolare di Karel Škreta. Già noto era il viaggio dell’artista in Italia, di conseguenza ho rivolto la mia attenzione sul suo soggiorno a Venezia e sui suoi rapporti con i dipinti veneziani presenti nella galleria del castello di Praga dove pare avesse accesso e dove si sarebbe personalmente occupato del restauro di un dipinto di Jacopo Tintoretto.
Anche Petr Brandl è stato oggetto della mia indagine. Nonostante sia ormai certo che Brandl non uscì mai dai confini della Boemia, sono percettibili nella sua pittura elementi di influenza italiana. In particolare ho cercato di rintracciare i mezzi attraverso i quali Brandl avrebbe potuto venire a contatto con l’arte italiana, nello specifico veneziana. Sicuramente una spiegazione è da ritrovarsi nel suo primo insegnante, Christian Schröder che in Italia aveva soggiornato quattro anni, viaggiando a Roma e a Venezia. Schröder aveva libero accesso alla galleria del castello di Praga in qualità di guardiano e lì aveva copiato una serie di 43 dipinti commissionati da Gundakar Dietrichstein per il castello di Libochovice circa negli stessi anni in cui Brandl era suo allievo. Quindi anche Brandl avrebbe potuto avere accesso alla galleria e copiare i grandi maestri. Ancora da indagare è il ruolo che Brandl avrebbe avuto nella realizzazione della serie di copie per Libochovice tra le quali la maggior parte erano dipinti di artisti veneti come Veronese, Tintoretto, Bassano.
Nell’ultima parte della tesi spazio è dedicato alla figura di Christian Schröder e alla sua attività di copista in particolare per il castello di Lobochovice, ipotizzando un suo ruolo più importante nella formazione del giovane Brandl. Un capitolo che apre interessanti prospettive anche per quanto riguarda i dipinti originali che furono copiati. Confrontando l’originale nel castello di Praga con la copia di Schröder, ho già avuto modo di scoprire che la Flagellazione di Cristo di Jacopo Tintoretto è in realtà un frammento, probabilmente tagliato nel corso del XVIII secolo. Una ricerca più approfondita rivelerebbe certamente interessanti particolari, qui in appendice ci si è limitati a darne alcuni assaggi.