Dissertations / Theses on the topic 'Painting, Australian 20th century'
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1
Gruner, Billy. "Painting the object : recent formal Australian painting." Phd thesis, Sydney College of the Arts, 2003. http://hdl.handle.net/2123/4992.
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Waldmann, Anna. "Desiderius Orban: an Australian romantic." Thesis, The University of Sydney, 1987. https://hdl.handle.net/2123/26267.
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Desiderius Orban (1884-1986) was born in Hungary. He had been a successful painter and teacher in his country of origin and came to Australia in 1939 as a mature and formed artist. He gained recognition in the Sydney art circles relatively soon after his arrival, had a large number of exhibitions, took part in numerous competitions, became a member of various art groups. Orban published three books and ran an art school from 1941 until his death in October 1986. In an unpublished autobiography written in 1965, Orban commented about his artistic career:
I always had doubt of my achievements. From nature I am sceptical towards my ability. I feel that my progress was a slow but a steady one. From the beginning my intellect played more important part than my emotions. On the other hand nearly all of my paintings have a romantic hint. This contradiction puzzled me a lot. I tried to fight against this romanticism without any success. Apparently my subconscious and my conscious mind disagree.
In his teaching and writings Orban pursued the idea that a creative mind is a mind free of prejudice. In his paintings however, he was unable to flee from the restrictions of conventionalism until the 1960s Orban's desire to translate his creed into artistic terms was hindered by technical limitations. In Orban, the distinction between aesthetic thought and method of expression had produced a constant struggle that resulted in decades of influential romantic teaching and accomplished rather than distinguished middle-of-the-road painting. The denouement of this struggle was achieved in the latter part of his lit when Orban abandoned his semi-illusionist methods. Orban's threefold career as a painter, writer and teacher, was intertwined and has to be viewed in the context of Hungarian and Australian art and thinking, as well as politics and perceptions.
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Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.
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Millward, William H., University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Beneath the surface : the role of intuition in the creative process." THESIS_FPFAD_XXX_Millward_W.xml, 1998. http://handle.uws.edu.au:8081/1959.7/308.
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One question raised when creating, evaluating and appraising art work is 'How do we know what we know?' This exegesis attempts to answer this by establishing the important role intuitive knowledge plays in decision making in general, and within the author's own art practice specifically. The study reviews some of the literature on intuition from philosophical and psychological perspective in order to validate intuitive knowledge and intuitive decision making within contemporary art practice. However, just because intuition may drive the process, it does not mean that the product of intuitive practice is necessarily good or has any value. Consequently, the importance of aesthetics, and the values of integrity, honesty and truth are explored from a philosophical perspective. These are discussed in relation to the art practice of other artists from this century as well as that of the writer. Having constructed a philosophical framework to work within and be guided by, the final part of this study documents the development of the practical work and how this framework influences the art practice and the outcomes of that practice. It is hoped that the results of the study will reassert the validity and relevance of this form of art practice and philosophy within contemporary art practice.Master of Arts (Hons) (Visual Art)
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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Millward, William H. "Beneath the surface : the role of intuition in the creative process." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/308.
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One question raised when creating, evaluating and appraising art work is 'How do we know what we know?' This exegesis attempts to answer this by establishing the important role intuitive knowledge plays in decision making in general, and within the author's own art practice specifically. The study reviews some of the literature on intuition from philosophical and psychological perspective in order to validate intuitive knowledge and intuitive decision making within contemporary art practice. However, just because intuition may drive the process, it does not mean that the product of intuitive practice is necessarily good or has any value. Consequently, the importance of aesthetics, and the values of integrity, honesty and truth are explored from a philosophical perspective. These are discussed in relation to the art practice of other artists from this century as well as that of the writer. Having constructed a philosophical framework to work within and be guided by, the final part of this study documents the development of the practical work and how this framework influences the art practice and the outcomes of that practice. It is hoped that the results of the study will reassert the validity and relevance of this form of art practice and philosophy within contemporary art practice.
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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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Setti, Godfrey. "An analysis of the contribution of four painters to the development of contemporary Zambian painting from 1950-1997." Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002218.
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This study presents an analysis of the contribution of four painters to the development of contemporary Zambian painting, from 1950 to 1997. This is preceded by a brief history of Zambian painting, including Bushmen rock painting and early Bantu art, which is followed by an account of the way western influence, introduced by the white man, started changing the style of painting in the country as it began to affect indigenous artists. In the work of artists who began painting from about 1900 to 1950, both western and traditional stylistic influences can be seen. While the painters whose work is analysed in this thesis had some knowledge of Zambian art before 1950, they were mainly influenced by western ideas of painting. From a list of more than ten painters ofthis period from 1950 to 1997, I selected: Gabriel Ellison, Cynthia Zukas, Hemy Tayali and Stephen Kappata because I know them personally and therefore had access to them and their work, which facilitated my analysis of their work and its contribution to Zambian painting. This analysis takes the form of four chapters, one for each artist, in which relevant biographical and educational background is outlined, followed by an analysis of examples of\vork. Finally, ways in which each painter, through exposure to the Zambian public and artistic community, contributed to further development in Zambian painting, are emphasised.
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Lee, Sai-chong Jack, and 李世莊. "Painting in western media in early twentieth century Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31214344.
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Park, Sungsil. "East Asian and Western perception of nature in 20th century painting." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/e1cdcb78-5148-4de7-9d84-4c701af7ad29.
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The introduction aims to investigate both my painting and exhibition practice, and the historical and theoretical issues raised by them. It also examines different views on nature by comparing and contrasting 20th Century Western ideas with those of traditional Asian art and philosophies. There are two sections to this thesis; Section A contains an historical overview of Eastern and Western philosophy and art, Section B presents observations on my studio and exhibition practice. Section A is divided into two chapters. Chapter 1 examines concepts of nature in the East and West before the eariy 20th Century. It discusses examples of different approaches to nature and cross-cultural perceptions, especially Taoism and Buddhism, which emphasize harmony within nature and the principle of universal truth. It also gives pertinent and relevant examples of attitudes to nature in the Korean. Chinese and Japanese art of the 20th Century. Chapter 2 discusses new and changing attitudes to ecology, post 20th Century, and the environmental art movements of the East and West. Their ideas have a great deal in common with traditional Eastern views on nature and the mind, so have the potential t change both our identity and our relationship with nature. Section B draws together this material to establish the main argument of the thesis, concerning a connection between modem ecological approaches and traditional Zen Buddhist ideas which emphasize the interconnection of all natural forms. The section consists mainly of observations on studio practice divided into 3 chapters and a conclusion.
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Lai, Mei Lin. "Lui Shou Kwan & modern ink painting." Phd thesis, Department of Art History and Theory, 2011. http://hdl.handle.net/2123/9258.
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蕭芬琪 and Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.
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Law, Suk-mun Sophia, and 羅淑敏. "Zhang Daqian's (1899-1983) place in the history of Chinese painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245808.
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Siu, Fun-kee, and 蕭芬琪. "The conventional and the individual in Fu Baoshi's (1904-1965) painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245912.
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Deng, Weixiong, and 鄧偉雄. "Scholarship, creativity and Jao Tsung-i's works and theories of painting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45961803.
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蘇碧懿 and Pik-yee Kotewall. "Huang Binhong (1865-1955) and his redefinition of the Chinese paintingtradition in the twentieth century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31238701.
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Gleeson, Damian John School of History UNSW. "The professionalisation of Australian catholic social welfare, 1920-1985." Awarded by:University of New South Wales. School of History, 2006. http://handle.unsw.edu.au/1959.4/26952.
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This thesis explores the neglected history of Australian Catholic social welfare, focusing on the period, 1920-85. Central to this study is a comparative analysis of diocesan welfare bureaux (Centacare), especially the Sydney, Melbourne and Adelaide agencies. Starting with the origins of professional welfare at local levels, this thesis shows the growth in Catholic welfare services across Australia. The significant transition from voluntary to professional Catholic welfare in Australia is a key theme. Lay trained women inspired the transformation in the church???s welfare services. Prepared predominantly by their American training, these women devoted their lives to fostering social work in the Church and within the broader community. The women demonstrated vision and tenacity in introducing new policies and practices across the disparate and unco-ordinated Australian Catholic welfare sector. Their determination challenged the status quo, especially the church???s preference for institutionalisation of children, though they packaged their reforms with compassion and pragmatism. Trained social workers offered specialised guidance though such efforts were often not appreciated before the 1960s. New approaches to welfare and the co-ordination of services attracted varying degrees of resistance and opposition from traditional Catholic charity providers: religious orders and the voluntary-based St Vincent de Paul Society (SVdP). For much of the period under review diocesan bureaux experienced close scrutiny from their ordinaries (bishops), regular financial difficulties, and competition from other church-based charities for status and funding. Following the lead of lay women, clerics such as Bishop Algy Thomas, Monsignor Frank McCosker and Fr Peter Phibbs (Sydney); Bishop Eric Perkins (Melbourne), Frs Terry Holland and Luke Roberts (Adelaide), consolidated Catholic social welfare. For four decades an unprecedented Sydney-Melbourne partnership between McCosker and Perkins had a major impact on Catholic social policy, through peak bodies such as the National Catholic Welfare Committee and its successor the Australian Catholic Social Welfare Commission. The intersection between church and state is examined in terms of welfare policies and state aid for service delivery. Peak bodies secured state aid for the church???s welfare agencies, which, given insufficient church funding proved crucial by the mid 1980s.
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Wenholz, Mary Peta. "Painting about painting: the contemporary expansion of medium specificity." Thesis, The University of Sydney, 2007. https://hdl.handle.net/2123/28934.
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Studio:
The work submitted for examination in December 2007 at SCA
Galleries, consists of a painting constructed within the gallery
space, and is the culmination of the research undertaken during
the Masters of Visual Arts program. Untitled (Vinyl wall
composition) I (2007) investigates how the act of making can
function as a speculative activity interested in both the
materiality of painting and the architectural context in which the
work is placed.
Research Paper:
The objective of this research paper is to investigate the
theoretical concerns raised by the studio work. It explores the
contemporary position of medium specificity through the work of
Tony Tuckson, Robert Ryman, Bernard Frize, Alan Charlton, Daniel
Buren and Katharina Grosse.
Discussion of the work of each of these artists focuses on the way
in which the physical characteristics of the materials used to
construct a painting can inform how the work is read and the ways
in which the architectural context can influence how a painting is
perceived.
Through exploring the practices of each of these artists and
establishing the conceptual strategies employed by each, this
paper seeks to locate the central concerns of my practice within
the discourse of contemporary painting.
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Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.
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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
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Wheeler, Elizabeth. "Colour, immateriality & uncertainty in painting." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/28007.
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The objective of the research paper is to explore the theoretical concerns raised in the studio work. The paper discusses concerns such as colour activity and perception; the interdependence of the material and the immaterial in painting; and the uncertainty inherent in the process of painting and how that relates to wider experiences of uncertainty. The discussion focuses on the practice of artists who engage with such concerns, comparing and highlighting commonalities in their work, the objective being to articulate the central concerns of my own practice and in doing so, po-sition it within the discourse of contemporary painting.
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Browne, Vicky Kay. "Images of sound and the sound of images." Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/24589.
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'The line between art and life should be kept as fluid, and perhaps indistinct, as possible'
Allan Kaprow1
Shortly before beginning this paper I moved into a new house, under the house was my office a
humble room to write in. For over ten years I had been stock piling articles and papers these
were placed in boxes on the floor ready to be unpacked and incorporated into my paper. Away
we went on holiday so I could return, refreshed to start writing. While we were away everything
flooded. I returned to a floating soup of Derrida and Deleuze, a sodden mash of Virilio and
Baudrillard. Floating down the drain was ten years of collected French theory and art writings. It
was like my brain had gone soggy along with my office and all its contents. However, as
everything began to dry out so too did my methodology and writing plan. Sometimes it takes a
flood to reveal the old and come up with the new.
I began to ask why was I doing a masters degree and what kind of paper would my practice
benefit from. I decided that trawling though academic theories in art and using artists as
illustrations for these theories was not going to inform my practice. After considerable thought I
concluded the main things that influenced my work was the stuff of life, the theories and ideas
floating around my brain. Walking the dog, living in the mountains, the radio station I listen to,
are the things that have influenced and moulded both my work and therefore the choice material
and the method of writing this paper. Along the way it is hoped that I can contextualise my work,
where it sits in the art world, what the materials I use mean, and the wider environmental and
political comments I am trying to make.
The paper floats much like the articles in the flood; there is no hypothesis, no monumental
conclusion; no light bulb moment. This mirrors my work, where meaning is often open ended
and contradictory, scale is out of whack, technique is shonky and materials are used in an ad
hoc way. There exists a kind of philosophical approach to the position of art and life, a blurring.
It is this blurring that is the catalyst for this paper. I do not dismiss art theory or theorists, indeed
the paper references Virilio, Bachelard and Deleuze to name a few, but they are not the driving
force behind the paper. The forces that drive the paper are the tangents, the intersections, the
trains of thought that occur when out walking or taking a shower. These are the trails that are
played out, investigated and recorded in this paper.
Chapter one by way of introduction looks at sound devices and music culture ('pop' culture) that
informs my work. It also considers how I use these devices and the wider meanings and
implications arising from this use. I additionally investigate different techniques and influences in my practice such as humour, theatrics and songs. These materials, techniques and influences
give the work meaning which is grounded in the realm of domestic life and social structures.
Chapter two discusses my practice in relation to the wider art world. It is a meditation both on art
movements that have influenced my work and on one way of reading those art movements;
namely Virilio's theories regarding trauma and the catastrophe. The chapter traces some
modernist movements from the futurists to 1960's video and sound artists through to presentday
installations, via Virilio's writings on trauma; it considers the trauma of war and the impact
on art at the time. Then the chapter considers possible traumas existing in the 1960's and the
present day and their impact on art. The chapter concludes with an examination of the impact of
perceived traumas and catastrophes in contemporary society and how they manifest
themselves in my practice.
The remainder of the paper looks at specific things that have informed my practice; namely;
iPods, housing, radio, scale and craft. I try to contextualise these things within my practice and
also give them a wider context via an investigation into their inherent meanings and politics.
The things I have chosen to consider are by no means the only things that inform my work, nor
are they finite. The things that inform my practice today may easily be rejected tomorrow; rather
it is the meditations and considerations behind writing about iPods or radios that are important.
It is the construction of a framework, the casting out of a wider net. I am hoping to capture
meaning and information that works towards contextualising, informing and clarifying my
practice, yet in a method which does not pin it down or estrange it from other possibilities and
directions. In a way this paper could work like a recording of my practice, the Dictaphone could
record another story and lay-down another track but right now, you have this one to read...........
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Wang, Labao. "Australian short fiction in the 1980s : continuity and change." Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/27583.
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This thesis offers a critical survey and a comprehensive bibliography of the
Australian short story in the 1980s. Conceived partly as an continuation of Stephen
Torre’s study of Australian short fiction of the 1940-1980 period, it starts where
Torre’s thesis stopped, focusing on Australian short story writing published in the
ten years between 1981 and 1990. Torre has summed up the 1940-1980 period as
‘a time of development and innovation’ in the history of Australian short fiction. In
comparison, the 1980s is probably best described as a decade of unprecedented
expansion and diversification. During that time, Australian short fiction broke away
from its earlier domination by monolithic traditions and became a much more
eclectic and pluralistic form. Contributing to this eclecticism and plurality were five
different streams of story writing created by five separate groups of writers. Due to
constraints of space, the critical text of the thesis examines only four of them.
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Franz, Kyle Randolph, and University of Lethbridge Faculty of Arts and Science. "Painting the town red : the "Communist" administration at Blairmore, Alberta, 1933-1936." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2006. http://hdl.handle.net/10133/530.
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On 14 February 1933, the citizens of Blairmore, Alberta, elected a Communist
town council; this so-called Red administration remained in power until 1936. Best
known for their seemingly outrageous actions, the council exists within current
historiography as either the result of protracted depression or an example of the success
experienced by the Communist Party of Canada during this period. This thesis will
challenge both arguments, demonstrating that a series of social, economic, and political
experiences resulted in the election of known Communists being socially permissible by
1933. It will be demonstrated that the agenda of council was not strictly Communist,
rather it represented a balance between radical and populist programs, thus enabling
council to challenge capitalist society while providing a practical response to the local
effects of the Depression. The deterioration of this balance by 1936, coupled with a series of scandals, was resultant in the councils electoral downfall.vii, 161 leaves ; 29 cm.
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Buchanan, David. "Contextual thesis Part I & Part II : Book of poems, "Looking off the Southern Edge" ; Stage play (full-length): Ecstasis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1015.
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This thesis, which accompanies my book of poems Looking Off the Southern Edge and my full-length stage play Ecstasis, is submitted in two parts: Part-I and Part-II. Part-l contextualises the writing practice of the above poems in considering the epistemological, autobiographical and landscape contexts of my poetry. Part-I then discusses how the poetry is involved in the process of decentring subjectivity within the southern India/Pacific arena. It should be pointed out that Part-I was submitted and marked last year, as the first year component of the Master of Arts (Writing) course. It is included this year because much of its thesis informs Part-II (and indeed is referred to and referenced by Part-II), especially in terms of my general theoretical approach to writing poems, plays, as well as the relevance of my music, painting and stained glass practices. Part II mostly addresses the writing of the play Ecstasis. I have however, discussed why I have re-edited, augmented and re-submitted my book of poems. I have then contextualised the writing of the play, by addressing the areas of Apophasis and the Aporia of 'the story', An Ecstatic Dramaturgy and the Undecidable Subject, and Ecstasis and an Endemic Specificity. This play was written, workshopped and enjoyed a partially moved reading (as late as the 11th, November) in the course of this year. While the writing of the piece is addressed under the previous headings, the workshopping and reading process is discussed in Workshopping the 'Spectacle Text' in the Co-operative Medium of 'Theatre. I have also included Appendix (i) in support of this process, in particular, the changes inspired by the reading. The conclusion discusses some of the boundaries for my writing of A Poetry and The Spectacle Text for theatre, and hints at the context required for any writing of experimentation in the southern Indian/Pacific arena.
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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.
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Arthur, Brid Caitrin. "Envisioning Lhasa: 17-20th century paintings of Tibet's sacred city." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437525195.
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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.
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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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Williams, Kerry. "Fleshing the facade : the manual." Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/27858.
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Anyone moderately familiar with the rigours of composition will not need to be told the story in detail; how he wrote and it seemed good; read and it seemed vile; corrected and tore up; cut out; put in; was in ecstasy; in despair; had his good nights and bad mornings; snatched at ideas and lost them; saw his book plain before him and it vanished; acted his people's parts as he ate; mouthed them as he walked; now cried; now laughed; vacillated between this style and that; now preferred the heroic and pompous; next the plain and simple ... [Virginia Woolf. 1977. Orlando. London: Grafton Books, p. 51)
And in the creation of this documentation there has been a question of style. How to write and present the written documentation so that it is complementary to and in harmony with the visual representation, both in terms of content and tone?
The answer has been to use the game as a metaphor and to cut the deck three ways:
First is the theoretical framework covering the broad perspective of the social environment, the women's movement and the art arena. It is the objective section, but it is written to reflect a "life's experiences"
approach rather than a purely academic interest in the subject matter.
Set in a games framework, with fictional titles, it provides the more "all knowing" element in the discussion.
Second are the autobiographical details presented under the guise of Alice. These stories have been written in a more childlike, innocent fashion reflecting the often unwitting involvement of players in the matrix of social games.
Third are the visual images of the artwork. The artwork itself is not directly discussed but rather included where appropriate throughout the text, drawing from the theoretical and/or the personal.
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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
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Humphreys, Charlotte M. "Cubo-Futurism in Russia, 1912-1922 : the transformation of a painterly style." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/2946.
Full textAbstract:
Cubo-Futurlsm is defined both in terms of the development of Cubist and Futurist styles of painting by the Russian avant-garde artists Liubov Popova, Nadezhda Udaltsova, Olga Rozanova and Ivan Puni between 1912 and 1915, and in terms of the reworking and transformation of' these two movements against the unique Russian cultural background into a new non-objective art after 1915. The Russian artistic and cultural context, including Ouspensky and the fourth dimension and the linguistic theories of the Futurist poets Alexei Kruchenykh and Vellmlr Khlebnikov concerning a transratlona]. language (zaum), played a vital role for a number of artists in their move into non-objective painting and construction. Zaum influenced the reworking of Cubist collage by Malevich, Puni and Rozanova, and the abstract collages and reliefs of Rozanova and Puni are defined as visual equivalents to the new logic "broader than sense" envisaged by zaum. As part of the Russian cultural context, indigenous art forms also acted as possible stimuli for the development of a non-objective painterly style. The abstract potential which artists saw in the icon was exploited by Puni in his non-objective reliefs of 1915-c1919, and the principles of decoration in Islamic Architecture may be seen as an important source for Popova's painterly architectonics of 19 16-18. After 1916, the principles of non-objective painting, established fran an examination of Cubism and Futurism, were applied to tasks of design and the theatre. Puni, Rozanova and Udaitsova designed household and fashion items, and Alexandra Exter and Alexandr Vesnin completed set and costume designs for several productions in the Moscow Kamerny Theatre between 1916 and 1922. In their attempt to articulate a dynamic spatial environment, the principles for these designs derived from earlier Cubo-Futurist experiments in painting.
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Armanno, Venero. "The volcano." Thesis, Queensland University of Technology, 1998.
Find full textAbstract:
The problems associated with marketing in China have been raised in several studies in the last 10 years. However, these prior studies focused on the four elements of
marketing mix for China and not on strategic marketing for the market in China, nor did they emphasise the implications of culture and marketing systems in China for developing strategic marketing plans.
This thesis has focused on building a general framework that could help Western firms, particularly Hong Kong-based, to develop strategic marketing plans that deal with
Chinese cultures and marketing systems in China. Therefore this thesis addresses the
research problem:How do wholly-owned Western firms in Hong Kong develop strategic marketing plans to do business in China? This research reviewed the available literature relating to cultures and marketing
systems in the West and China. By comparing and contrasting these differences, eleven research questions were formulated and shown as follow. In developing strategic marketing plans for the market in China: RQJ: how is market research as important a foundation for strategic marketing effectiveness as it is in the West?
RQ2: how is planning longer-term than in the West?
RQ3: how is the approach evolutionary rather than revolutionary, compared to the
West?
RQ4: how does strategy emphasise long-term relationships with and among consumers
(for example, by offering sales service) more than in the West?
RQ5: how does target marketing emphasise the group rather than the individual?
RQ6: how are product line strategies different.from those in the West?
RQ7: how do marketing strategies allow for less flexibility in price than in the West?
RQB: how will promotion strategies which Western firms can exercise within
distribution channels in China be similar to those used in the West?
RQ9: how are the choice of institutions and levels of channels in China different from
those in the West?
RQI Oa: how is market segmentation of consumers in China more difficult than in the
West?
RQllb: how can cultural differences between West and China be used as a basis for market segmentation?
As discussed in chapter 3, data were collected by using the case study methodology,with one pilot case study conducted in Brisbane to refine the research protocol and
procedure. In the major stage of data collection, six wholly-owned Western firms from different industries were interviewed and examined in Hong Kong. As discussed in chapter 4, data was analysed by using case descriptions, cross-case analysis and explanation building methods. Triangulation was carried out in order to ensure the findings and conclusion were convincing and generalisable.
The results of the research indicate that most of the methods for developing strategic marketing plans for the market in China (for example, market research, segmentation and targeting) are derived from the Western conventional marketing principles. However, the methods are relatively rudimentary and the approach tends to
evolutionary and emphasises relationships. Indeed, there are only a few similarities between strategic marketing planning in China and the West, with the differences being attributable in the main to cultural factors and marketing systems. The major contribution of the research was to provide far more detailed descriptions and
sometimes explanations of strategic marketing planning processes than those provided in the extant literature.
On the basis of these research findings, a model (refer table 5.2 and figure 5.1) has been built to help Western firms to develop strategic marketing plans that deal with
Chinese cultures and marketing systems.
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Kneen, Kris. "Head on." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35902/1/35902_Kneen_1998.pdf.
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Mason, Anthony, and n/a. "Australian coverage of the Fiji coups of 1987 and 2000: sources, practice and representation." University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090826.144012.
Full textAbstract:
For many Australians, Fiji is a place of holidays, coups and rugby. The extent to which we
think about this near-neighbour of ours is governed, for most, by what we learn about Fiji
through the media. In normal circumstances, there is not a lot to learn as Fiji rarely appears
in our media. At times of crisis, such as during the 1987 and 2000 coups in Fiji, there is
saturation coverage. At these times, the potential for generating understanding is great. The
reporting of a crisis can encapsulate all the social, political and economic issues which are a
cause or outcome of an event like a coup, elucidating for media consumers the culture, the
history and the social forces involved. In particular, the kinds of sources used and the kinds
of organisations these sources represent, the kinds of themes presented in the reporting, and
the way the journalists go about their work, can have a significant bearing on how an event
like a coup is represented. The reporting of the Fiji coups presented the opportunity to
examine these factors. As such, the aim of this thesis is to understand the role of the media
in building relationships between developed and developing post-colonial nations like
Australia and Fiji.
A content analysis of 419 articles published in three leading broadsheet newspapers, The
Sydney Morning Herald, The Australian and The Canberra Times, examined the basic
characteristics of the articles, with a particular focus on the sources used in these articles.
This analysis revealed that the reports were dominated by elite sources, particularly
representatives of governments, with a high proportion of Australian sources who provided
information from Australia. While alternative sources did appear, they were limited in
number. Women, Indian Fijians and representatives of non-government organisations were
rarely used as sources. There were some variations between the articles from 1987 and those
from 2000, primarily an increase in Indian Fijian sources, but overall the profile of the
sources were similar.
A thematic analysis of the same articles identified and examined the three most prevalent
themes in the coverage. These indicated important aspects of the way the coups were
represented: the way Fiji was represented, the way Australia's responses were represented,
and the way the coup leaders were represented. This analysis found that the way in which
the coups were represented reflected the nature of the relationship between Australia and
Fiji. In 1987, the unexpected nature of the coup meant there was a struggle to re-define how
Fiji should be understood. In 2000, Australia's increased focus on Fiji and the Pacific region
was demonstrated by reports which represented the situation as more complex and uncertain,
demanding more varied responses.
A series of interviews with journalists who travelled to Fiji to cover the coups revealed that
the working conditions for Australian media varied greatly between 1987 and 2000. The
situational factors, particularly those which limited their work, had an impact on the
journalists' ability to access specific kinds of sources and, ultimately, the kinds of themes
which appeared in the stories. The variation between 1987 and 2000 demonstrated that
under different conditions, journalists were able to access a more diverse range of sources
and present more sophisticated perspectives of the coup.
In a cross-cultural situation such as this, the impact of reporting dominated by elite sources
is felt not just in the country being covered, but also in the country where the reporting
appears. It presents a limited representation, which marginalises and downplays the often
complex social, cultural and historical factors which contribute to an event like a coup.
Debate and alternative ways of understanding are limited and the chance to engage more
deeply with a place like Fiji is, by and large, lost.
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Archer, Carol, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Skin to work : shifting materialities, ambiguous boundaries." THESIS_FPFAD_SD_Archer_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/380.
Full textAbstract:
This thesis challenges existing readings of paintings by Alberto Burri which discuss the work in relation to matter or the body or the psyche. The reading of Burri's Ferro, Sacco, Combustione Legno and Grande Legno G59 demonstrates how the work effects a dynamic quality of alternation between the skin and 'brute' matter. The signification of the work shifts between two types of materiality - that of sheet metal, hessian, plastic and plywood and that of the wounded human skin and psyche.It is argued that the ambiguity of the materiality of Burri's paintings effects a dynamic reciprocity between subject and object. The author argues that Burri's painting alerts the viewer to the reciprocities between industrial materials, corporeal surfaces and subjectivities, to the continuities and ambiguities with and between the skin and workMaster of Arts (Hons) (Visual Arts)
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Gill, Laura Fox. "Peripheral vision : the Miltonic in Victorian painting, poetry, and prose, 1825-1901." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/72673/.
Full textAbstract:
This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.
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Burke, Janine, and mikewood@deakin edu au. "A Portrait of Albert Tucker, 1914-1960." Deakin University. School of Contemporary Arts, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.161937.
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Burke, Andrew. "Two collections of poetry, Whispering gallery [and] Flight log: Selected Poems 1967-2001: Plus an Essay: The Roots of My Writing." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/291.
Full textAbstract:
This presentation includes two collections of poetry and one essay. There are two collections of poetry because one of them, Flight Log, is a 'Selected Poems' which necessarily includes much work not written during the course of my MA. However, I contend that the process of constructing a 'selected' collection is as creative as the editing process one knows through writing poetry, and that respect for one former creativity is a vital part of the artist's continuing productivity. The new manuscript, Whispering Gallery, is the text of my fifth book, published by Sunline Press in November 2001. Originally it was envisaged as a collection of contemporary haibun in a form predominantly created by John Tranter, but creating to a set form became a chore rather than a creative delight, so I returned to a fundamental lyric form for many of the later poems. Hopefully it now has a wide range of tones and moods yet is cohesive through form and content.
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Wang, Xuning. "Realist painting and its relationship to my creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.
Full textAbstract:
This thesis examines the realist art movement from its origins in France in the 1840s to its development in China in the 20th century and its impact on the author as an artist. The thesis reviews the development of realism in France, and traces its impact on Chinese conceptions of realism in the 20th century. The contemporary debates surrounding realism in China are examined and contextualised within the recent history of realism in China. Finally the thesis looks at the impact of realism on the author’s creative practice and a case is argued for the development of realist ideas in a globalised culture and its value as a cross- cultural visual language.
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Riddler, Eric. "Sublime souls & symphonies : Australian phototexts, 1926-1966." Master's thesis, University of Sydney, 1993. http://hdl.handle.net/2123/14449.
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Archer, Carol. "Frames, flows, feminist aesthetics: paintingsby Judy Watson, Cai Jin and Marlene Dumas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B3690787X.
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Heuschele, Margaret, and n/a. "The Construction of Youth in Australian Young Adult Literature 1980-2000." University of Canberra. Creative Communication, 2007. http://erl.canberra.edu.au./public/adt-AUC20081029.171132.
Full textAbstract:
Adolescence is an incredibly complex period of life. During this time young people are searching for and wanting to create their own unique identity, however being confronted with a plethora of roles and directions is challenging and confusing. These challenges are reflected in the vast array of young adult literature being presented to young people today. As a result young adult literature has the potential to function as scaffolding to assist teenagers in the struggles of adolescence by serving as an important source of information about the world and the people in it. Teenage novels also give young people the opportunity to try on different identities and vicariously experience consequences of actions while developing their own distinctive personality and character.
As this study reveals, the Australian young adult novel has undergone considerable developments, with 1989 serving as a milestone year in which writers and publishers turned in new directions. In general, Australian young adult novels have changed from books set predominately in rural areas, incorporating major themes of child abuse, death, friendship and survival with introverted characters aged between twelve and sixteen in the early 1980s to novels with urban settings, a large increase in books about crime, dating, drugs and mental health and sexually active, extroverted characters aged between fourteen and eighteen in the late 1990s.
To chart the progression of these changes and gain an understanding of the messages young adults receive from adolescent novels an evaluative framework was developed. The framework consists of two main sections. The first part applies to the work as a whole,
obtaining data about the novel such as plot, style, setting, temporal context, use of humour,
issues within the text and ending, while the second part collects information about character demographics including gender, age, occupational status, family type, sexual orientation, relationships with family and authority figures, personality traits and outlook for character. To qualitatively and quantitatively assess the construction of youth in Australian young adult literature a random selection of 20 per cent of Australian young adult books published in each year from 1980 to 2000 were analysed using the evaluative framework, with 186 novels being studied altogether.
During the 1990s in particular, Australian young adult literature was heavily criticised for being too bleak, too dark, presenting a picture of life that was all gloom and doom. This research resoundingly dismisses this argument by showing that rather than being a negative influence on the lives of young people, Australian books for young people present a comprehensive portrayal of youth. They probe the entire gamut of teenage experiences, both the good and the bad, providing a wide range of scenarios, roles, relationships and characters for young people to explore. Therefore Australian young adult literature provides an important source of information and support for the psycho-social development of young people during the formative years of adolescence.
This research is significant because it gives hard evidence to support the promotion of a representative selection of Australian young adult novels both in the classroom and in home, school and public libraries. By establishing the available range of contemporary Australian young adult literature through this study, young adult readers, teachers and librarians can be confident in the knowledge that appropriate titles are accessible which meet the needs and interests of young people. Consequently, the substantial amount of data gathered from this
study will considerably add to the knowledge and understanding ofAustralian young adult novels to date and provide an excellent starting point for further research in the future.
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Behin, Bahram. "Aspects of the role of language in creating the literary effect : implications for the reading of Australian prose fiction /." Title page, contents and abstract only, 1997. http://web4.library.adelaide.edu.au/theses/09PH/09phb419.pdf.
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Eastburn, Melanie. "The living specimen : Guan Wei : a Chinese-Australian artist." Thesis, 1997. http://hdl.handle.net/1885/258500.
Full textAbstract:
This thesis focuses on the work and experience of Guan Wei. Guan Wei is a Chinese born artist now living and working in Australia. He is one of a number of mainland Chinese who came to live in Australia in the late 1989s and early 1990s. While there are certain commonalities between the experiences of these artists, I have concentrated on Guan Wei not merely as a case study for recent emigre Chinese artists in Australia, but because of his prominent place in Australian contemporary art.
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Adsett, Peter. "Beyond picturing." Phd thesis, 2012. http://hdl.handle.net/1885/155939.
Full textAbstract:
Beyond Picturing is practice led research aimed at determining whether horizontality can be deemed a medium in its own right, and further, whether it can establish a new set of conventions, enabling a cross-cultural dialogue between peoples of our region, particularly Aboriginal people and Maori and those of European heritage. I chart the course of horizontality across the art of the 20th century, identifying it as a medium for practice. My thesis examines examples in which horizontality as a methodology was a vehicle for meaning, based on the theories of structural linguistics and phenomenology. Furthermore, by acknowledging the axial shift, from the horizontal plane of process to the vertical plane of image, I discover a shared ground for cultural dialogue with painters of the central desert and the Kimberley.
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Edmond, Martin. "Double lives : Rex Battarbee and Albert Namatjira." Thesis, 2013. http://handle.uws.edu.au:8081/1959.7/534259.
Full textAbstract:
This thesis consists of a creative component which is a dual biography of the two water colour painters, Rex Battarbee and Albert Namatjira, whose relationship was to have a decisive impact on Australian art; and an exegesis which describes the process of the making of that biography in such a way as to illuminate the issues, contentious or otherwise, that may arise during the progress of a biographical inquiry. The dual biography is focussed upon the public lives of the two men, one white Australian, the other Indigenous Australian of the Arrernte people, and especially upon their professional activities as painters. It is not an exercise in psychological inquiry nor an attempt to disclose the private selves of the two artists; rather, my interest is in describing the means by which each man found his calling as an artist; the relationship, life-long, which developed between them; the times in which they lived and how this affected the courses of their lives; and the results of their work in the public sphere. By ‘work’ I mean both the artefacts they made and the traditions they inherited, transformed and passed on to succeeding generations.
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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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Gunn, Anthea Caroline. "Imitation realism and Australian art." Phd thesis, 2010. http://hdl.handle.net/1885/109407.
Full textAbstract:
The work of the Imitation Realists has rightly been seen as marking the start of the
widespread use of assemblage and popular culture by Australian artists during the
1960s. Viewed within the context of their training and the debates of the Australian
art world in the 1950s, it can be seen that the impetus for their work was to find an
alternative form of 'Australian' art. The stated objective of this thesis is to
demonstrate how the work of the Imitation Realists adapted and contributed to
changes to art in Australia. This is achieved by considering the work of Mike
Brown, Ross Crothall and Colin Lanceley in the context of the debates that shaped
the reception and production of art in Australia, including changing ideas concerning
materials, exhibition display and the national identity. Their art, exhibitions and
statements are closely analysed to show how the group formed, worked together and
why they later disbanded.
It is argued in this thesis that Imitation Realism arose as a response to what the
artists saw as the inadequacy of local art practice. This was a result of a
disconnection that they saw between contemporary art and daily life in Australia.
The Imitation Realists found that both abstract and figurative painters were at a
remove from modern urban life as they experienced it. They tried to form an
authentic mode of art that connected with the materiality of the everyday.
Assemblage enabled the artists to break through the impasse they perceived in
contemporary art. Their work was one instance of a widespread interest in the
'primitive' and assemblage shared by artists in Europe and the United States. As
virtually no precedent existed for their art in Australia, it is contextualised
internationally in this thesis. This identifies that the Imitation Realists shared the
practice of using deliberately naive techniques and styles to create work that sought
to capture creativity at its most basic level. The Imitation Realists used assemblage
to respond to modern life as a whole, not just to modernism within the visual arts.
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"現代中國畫的色彩和創新." 2004. http://library.cuhk.edu.hk/record=b5891807.
Full textAbstract:
楊晶."2004年6月".
論文(藝術碩士)--香港中文大學, 2004.
參考文獻 (leaves 32-34).
附中英文摘要.
"2004 nian 6 yue".
Yang Jing.
Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2004.
Can kao wen xian (leaves 32-34).
Fu Zhong Ying wen zhai yao.
前言 --- p.1-2
Chapter 第一章 --- 歷史中的色彩回顧 --- p.3-11
Chapter (一) --- 開創時期 --- p.3-6
Chapter (二) --- 發展時期 --- p.6-9
Chapter (三) --- 衰落時期 --- p.10-11
Chapter 第二章 --- 二十世紀中的「創新」課題 --- p.12-18
Chapter (一) --- 以古開今 --- p.13-14
Chapter (二) --- 中外融合 --- p.15-18
Chapter 第三章 --- 色彩創新與自我探索 --- p.19-31
Chapter (一) --- 用色觀念 --- p.20-25
Chapter (二) --- 著色技巧 --- p.25-27
Chapter (三) --- 顏料運用 --- p.27-31
後記 --- p.32
附錄一參考書目
附錄二圖版
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Gathercole, Michael University of Ballarat. "Progress in Australia over the 20th century : the ups, downs and reversals that occurred in Australian human wellbeing over the 20th century." 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12756.
Full textAbstract:
"This study is an investigation of progress in Australia over the 20th century. Progress is defined here as the enhancement of human wellbeing. For the purposes of this study, human wellbeing will be characterised by five main components: knowledge, environment, economy, individual and social. Enhancement refers to positive directional change in terms of these components. The study firstly develops a framework to conceptualise progress. It then collects and uses statistical data in a descriptive study of what happened in Australia, over those 100 years, in terms of progress in general and in terms of its components. The study also develops a typology of relationships for models of progress, which best explain the Australian data. This study finally explores some of the relationships between the elements that make up the components of progress and looks at ways to best explain what has happened..." --p.1.Doctor of Philosophy
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Gathercole, Michael. "Progress in Australia over the 20th century : the ups, downs and reversals that occurred in Australian human wellbeing over the 20th century." Thesis, 2005. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/37349.
Full textAbstract:
"This study is an investigation of progress in Australia over the 20th century. Progress is defined here as the enhancement of human wellbeing. For the purposes of this study, human wellbeing will be characterised by five main components: knowledge, environment, economy, individual and social. Enhancement refers to positive directional change in terms of these components. The study firstly develops a framework to conceptualise progress. It then collects and uses statistical data in a descriptive study of what happened in Australia, over those 100 years, in terms of progress in general and in terms of its components. The study also develops a typology of relationships for models of progress, which best explain the Australian data. This study finally explores some of the relationships between the elements that make up the components of progress and looks at ways to best explain what has happened..." --p.1.Doctor of Philosophy