Dissertations / Theses on the topic 'Painting Themes'
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Hichberger, Joan Winifred Martin. "Military themes in British painting 1815-1914." Thesis, University College London (University of London), 1985. http://discovery.ucl.ac.uk/1318047/.
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This thesis examines the treatment of the British Army and military themes, in painting, during the period 1815- 1914. All the works discussed were exhibited at the Royal Academy, which, although it underwent modifications in status, remained the nearest equivalent to a State Institution for Art in Britain. All the paintings shown there were painted with the knowledge that they were to be seen by the controllers of the Academy and the dominant classes of society. It will be inferred then, that the paintings shown there may be taken to have been acceptable to ruling class ideologies, and are therefore instructive of 'official' attitudes to military art. Representations of the contemporary Army, in this period, fell into two main catagories - battle paintings and genre depictions of soldiers. Chapters one to three survey battle paintings; studying the relation of this genre to the Academy; the relative popularity of the genre and the career patterns of its practioners. The critical reception of battle pictures at the Academy and certain important public competitions will be noted and considered in the context of contemporary ideologies about art and about the Army and its men. Chapter four discusses the vital concept of 'heroism' and its treatment in English military art. In particular, the reasons for the popularity of certain military figures above their peers, in academic art, will be explored. It will be argued that the process of 'hero-making' in art was not determined by professional success alone, but was often the result of the intervention of patrons, publicists and pressure groups. It will be shown that contemporary ideologies of heroism and art-historical convention precluded innovation in representation to correspond with technological developments in warfare. Battle paintings of heroes remained rooted in the conventions of 'chivalry' until the end of the First World War. Chapters five and six study genre representations of the soldier. Paintings of the 'recruit', the 'veteran' and the soldier and the family are discussed in relation to contemporary ideologies of the soldier held by the dominant classes. This thesis seeks to show that the military genre pictures, exhibited at the Royal Academy, are significantly related to developments in ideas about the Army and society, and that the uncertain status of battle painting was reflective of the equivocal attitude towards the Army and the Empire in this period.
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Christian, Amy J. "Human distillations : the visual and conceptual development of a body of work." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724961.
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The creative project was the end result of a year of focused exploration and development in the areas of painting and drawing. The artist created a group of five oil paintings and four mixed media drawings which culminated her year of work. The pieces were exhibited on Ball State University campus as well as being documented and evaluated in a thesis paper.A strong belief in the importance of the ability to pursue an idea or concept to its furthest point led the artist to set the goals of the project. While working on the project, the artist honed her technical skills, and strengthened her personal aesthetic by her discovery and research of painters who based their work in similar beliefs.The accomplishment of the goals she had set forth was the first step on the artist's journey to becoming a professional, exhibiting artist.Department of Art
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Nixon, J. W. "Francis Bacon : Paintings 1959-1979; opposites and structural rationalism." Thesis, University of Ulster, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378605.
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Tupper, Denise. "My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/182.
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This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Stiebeling, Detlef. "Traditional iconographic themes in a Victorian context : paintings by Sir John Everett Millais between 1848 and 1860." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73982.
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Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.
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Earles, Bruce, University of Western Sydney, and School of Contemporary Arts. "Inquiry into the appeal of anonymity to the artist." THESIS_XXX_CAR_Earles_B.xml, 1998. http://handle.uws.edu.au:8081/1959.7/499.
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This paper, in conjunction with a series of paintings and drawings, attempts to outline the theme of anonymity. The work contains images portraying the feeling of remaining anonymous within a city. The inquiry not so much records the necessity of remaining anonymous for the purpose of urban experience but examines whether the subject matter of the artwork could be communicated to a group of spectators. During an exhibition of the artworks, 20 subjects were surveyed for their opinions. Questions relating to subject matter and aspects of anonymity were posed to the spectators in a questionnaire and structured interview format. In a large majority of cases, spectators of the artworks isolated the multiple-choice answer that most described the subject matter of the artworks. This study gave a strong indication to the artist that the group of spectators could comprehend the subject matter of the paintings exhibitedMaster of Arts (Hons) Visual Arts
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Cliffe, Gregory Laurence, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Can an illusionary object such as a painting express the essence of change in values of the artist and their society?" THESIS_CAESS_CAR_Cliffe_G.xml, 2001. http://handle.uws.edu.au:8081/1959.7/457.
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The initial intention of this thesis was to amalgamate two distinct tendencies that evolved in the author's art work over the period of twenty-four years. The illusionary and corporeal qualities of his painting and sculpture had become amalgamated with social concerns, which emerged from his installation and performance work between 1975 and 1985. The moment the artist makes a gesture on a painting surface is a culmination of memory, the immaterial and the corporeal. That moment expresses his judgement about himself, and the world in illusionary form. By bringing together of the self and one's worldview, the corporeal and the immaterial, the past and present, the artist is provided with the authority to make judgements and to change themselves and their surrounding community, as well as gaining insights into changes in values in his community and family. The emphasis of the everyday in the artist's work has become an expression of universal social issues.Master of Arts (Hons) Contemporary Arts
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Bolgun, Oya. "A study of technology and human relations developed in a series of paintings." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230600.
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The ambition of this creative project was to portray the communication between individuals of our time, which is being made shabby by the effect of technological life. As an artist, I am dealing with the issue of our sense of respect for each other and how much we are aware of each other.This study includes the art works of artists Robert Motherwell and Joan Mitchell by whom I have been inspired. I have learned a lot from their art works and from their philosophies. I will describe my art works one by one in terms of the techniques that I have used, and the feelings behind them.Department of Art
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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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Munson, William Donald. "Rites of passage." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124882.
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Portrait painting is an art form that has been used by artists for years. I am using the portrait to convey a story. The story follows a boy's process of becoming a man. The discovery of old family photographs initially inspired the project. The rite of passage theme stems from this inquiry into the process of growing up. Several artists inspired my work in the formal and conceptual aspects of my portraits. Those artists include Paula Rego, Chuck Close, and Robert Henri. "Rites of passage" is a phrase that carries with it many meanings and issues. This creative project is both a consideration of the rites of passage theme and an investigation of the painted portrait.Department of Art
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Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.
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The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.
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Puls, Jonathan D. "Regenerative themes in selected child bather paintings by Joaquin Sorolla from 1899-1909." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1524150.
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Joaquín Sorolla (1863-1923) painted numerous works of children bathing and playing on Spain's Mediterranean shores. This life-affirming subject allowed Sorolla to participate in the broad cultural discourse in Spain concerning cultural regeneration. Sorolla's work with the subject of the child bather intensified in the decade following the Crisis of 1898. Sad Inheritance! , his first monumental work on a child bather subject, directly engages the Theory of Degeneration, and the degeneration of Spain itself. While creating this work, Sorolla also developed paintings of child bathers that moved decisively toward a vision of regeneration. It was this regenerative vision that the artist would pursue in a number of complex and shifting ways, until creating a series of large child bather paintings in 1909. This thesis takes an episodic approach, studying key works from a decade of Sorolla' s output.
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Martone, Thomas. "The theme of the conversion of Paul in Italian paintings from the early Christian period to the high Renaissance." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/11970051.html.
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Fozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.
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Having a personal connection through several family members to the life and work of Ngaanyatjarra Elder Mr Ward, I found his death in custody in outback Western Australia unsettling and incomprehensible. As the circumstances of his death were revealed, I became aware of glaring omissions in the telling of his story and the circumstances that led to his death. Through my engagement with the subsequent media reporting, official documents and personal conversations, I recognised a profound lack of understanding of difference and otherness within a shared history and space in Western Australia. The initial aim of my project was to investigate the incomprehensible through the lens of Ngaanyatjarra Elder Mr Ward’s death; however, ethically, this proved a difficult path to negotiate. Through my research, I came to understand that the continued use of the dominant language of the coloniser, which is embedded in social practices and academic discourse is, in part, continuing to perpetuate white privilege. The ethical problems raised inspired me to develop an approach, which although oblique, would nevertheless enable fresh insight into otherness and difference in a multi-cultural society. The particular concern of this practice-led research project is not to exploit the trauma of others but to raise awareness of this social space through my work, giving rise to new understandings and possible relations.
This research gathered key texts from Walter Benjamin and Theodor Adorno, to facilitate the transfer of the written form of Denkbild, a literary device manipulating the codes of language to visualise the process of thought, into a painting practice. The Denkbild (thought-image) is a Euro-centric genre of exploratory philosophical writing, crafted in response to a society witnessing tremendous change as a result of the devastating impact of WWI and WWII. Through this creative project, the challenge was to re-activate the Denkbild through painting and accompanying text to investigate deaths in custody and interrogate the connected issues of ethics, politics and inequality, which is written into the shared spaces of Western Australia. The Denkbild is then developed further with the addition of Henri Lefebvre’s threedimensional spatial application of dialectical thinking and the creative practice of selected Australian artists. Through this addition, the binary dialectical framework of the Denkbild is expanded to reflect contemporary thinking on the concept of space as a social product. This perspective emerges to enable fresh insight into Aboriginal understandings of space as representing an ‘eternal now’, such that a mutual understanding of space is manifested. My painting practice reflects and informs this transition, as I moved from the painting studio to selected locations to record information and experiences that developed my research position.
To achieve the project’s aims, I engaged in reflexivity and praxis as the methodological tools to guide my research. Through painting, my research extended across interdisciplinary fields including visual arts practices, philosophical history and literature, to interrogate a spatial dynamic, revealing marginalised insights and connecting interrelationships between sites. For the purpose of this research, the paintings, exhibitions and exegesis function on two levels: as an avenue into mediation of Western Australian culture and as a methodological approach to visual art practice. My research culminated in the exhibition, Ghostcards of WA 2017 at the Spectrum Project Space, ECU, Mount Lawley. This project is significant as it renews the Denkbild to further the unique relationship between conceptual and representational categories that binds together experience, object and practice to form an interrogative tool for critical inquiry. In the application of this method to a Western Australian context, new thinking is encouraged through the inclusive reading of space and the collapsing of misunderstandings perpetuated in historicism through a shared recognition of the inherent value of space/sites which— far from being incomprehensible, reactive, nostalgic and solipsistic—are comprehensible, active, prescient, abundant and social.
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See, Harrison W. "Encounters across dialogic cross-cultural collaborative painting." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2593.
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With a focus on studio painting, this PhD research explores collaboration as a mode of cultural exchange and dialogue and an intervention strategy regarding the limits of solo practice. This practice-led inquiry was motivated by experiences of cultural exchange and dialogue during earlier honours research undertaken in mainland China. While living, studying and painting in Shanghai, cross-cultural encounters prompted a curiosity for unfamiliar ideas, perspectives and practices while simultaneously provoking reflections on familiar ideas, perspectives and practices. This was an insightful experience that shifted both my notions of practice and culture. To emulate these insights, this doctoral research planned to collaborate with artists of Southeast Asia; however, with the advent of COVID-19, alternative collaborative paradigms emerged to explore.
Practice-led research was the discovery-led methodology used for this inquiry, alongside studio methods including reflexivity, journaling, studio practice and collaboration. Collaboration was dialogic, predominately informed by a synthesis between Charles Green’s (2001) notion of third hand and Mikhail Bakhtin’s (1981) dialogics. Through this synthesis, dialogic collaboration embraced difference in terms of relativity, not opposition. A curiosity towards plurality was facilitated that understood divergence as a serendipitous source of creativity. Dialogic collaboration was undertaken with contemporary artists from a range of cultural backgrounds, locations and creative disciplines. In adapting to COVID-19, international collaboration utilised postage, while Perth-based artists exchanged artworks locally. As restrictions eased, face-to-face collaboration also became possible. Informed by such collaborations, the final series of paintings titled Far-Away Island was developed.
Although not all collaborations were successful creatively, each offered its own unique insights. Collaboration proved to disrupt and expand familiar ways of thinking and making in the studio. Dialogic collaboration was also an effective means of exchanging cultural perspectives and ideas within a space that embraced dissensus. Exchanges within this space meant adopting a more pluralistic understanding of storytelling elements (tropes, themes, characters, archetypes and iconographies). Further, a renegotiation of storytelling itself occurred where narratives focused on the intersubjectivity and interconnectedness between elements rather than the elements themselves. It was also through this renegotiation of storytelling that the influence of videogames was acknowledged, explored and integrated into studio painting. Ultimately, dialogic collaboration proved an appropriate means of encountering cultural differences and a valuable source of self-reflection.
The implications of the research extend beyond studio practice and into the broader discourse around cultural exchange. With the world’s increasing cultural and political tensions, there is an emerging need for more nuanced approaches to cross-cultural exchange through which art can offer unique and alternative ways of thinking and working. Ways that accept and embrace the inevitability of untranslatable and incommensurable perspectives, practices and ideas intrinsic to cross-cultural spaces. Dialogic collaboration proved to be one such approach that acknowledges the complexities of cross-cultural exchange and accepts the potential for untranslatability and incommensurability.
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Itoh, Daiki. "Force Haptic Interaction for Room-Scale 3D Painting." Research Showcase @ CMU, 2018. http://repository.cmu.edu/theses/134.
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Artistic painting involves mastery of haptic interaction with tools. Each tool brings unique physical affordances which determines an aesthetic expression of the finished work. For instance, a pen offers an ability to make a precise stroke in a realism painting, whereas a thick brush or a sponge works perfectly with dynamic arm movement in the abstract art such as action painting. Yet the selection of a tool is just a beginning. It requires repetitive training to understand the full capability of the tool affordance and to master the painting of preferred aesthetic strokes. Such physical act of an artistic expression cannot be captured by the computational tools today. Due to the increasing market adoption of augmented reality and virtual reality, and the decades of studies in haptics, we see an opportunity for advancing 3D painting experiences in non-conventional approach. In this research, we focus on force haptic interaction for 3D painting art in a room-scale virtual reality. We explore virtual tangibility and tool affordance of its own medium. In addition to investigating the fidelity of a physical interactivity, we seek ways to extend the painting capabilities by computationally customized force feedback and metaphor design. This system consists of a wearable force feedback device that sits on user’s hand, a software for motor control and real-time 3D stroke generation, and their integration to VR platform. We work closely with an artist to refine the 3D painting application and to evaluate the system’s usability.
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John, Chrisilda. "Fusion of dance and painting in Kathakali." Thesis, Queensland University of Technology, 1999.
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This thesis explores how fusion of dance and painting is a creative process in the traditional Indian theatrical dance of Kathakali. The thesis argues that fusion is a powerful creative process in this art form, and identifies (in Chapters 2, 3 and 4) the goal, conditions and techniques that contribute to this process. This study was triggered in part by my own visual practice. As an Expressionist artist I attempt to fuse dance and painting. I locate the notion of fusion in the Expressionist movement and in the work of three contemporary artists, including my own. The devices used in Kathakali would illuminate the artist who is engaged in the fusion of dance and painting.
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Guerrero, Ryan. "Mural Graffiti Painting: Positively Affecting a Community." Fogler Library, University of Maine, 2011. http://www.library.umaine.edu/theses/pdf/GuerreroR2011.pdf.
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Pillemer, Mica Yoram. "Vision and contemplation an exploration within the medium /." Amherst, Mass. : University of Massachusetts Amherst, 2009. http://scholarworks.umass.edu/theses/298/.
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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.
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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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Mason, Gale Joanna. "Aggregate: An exhibition -and- Event, Sensation and Figurative Painting: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2495.
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This practice-led doctoral research has emerged out of dedicated figurative painting practice and interweaves Gilles Deleuze’s Sensation and Slavoj Žižek’s Event concepts. The Event is understood as a philosophical system and not a particular occurrence. As with Sensation, it is framed as an unseen destabilising force or rupture that can only be experienced through its effects. Utilising the heuristic value of oil paint’s materiality and examining approaches of capturing the idea of Evental rupture, emphasis was given to colour theory, art history, facture and the construction of figurative paintings, with particular attention to the quality of materials.
Key figurative painters Susanne Kühn and Neo Rauch, who originated from the East German city of Leipzig and gained prominence after the fall of the Berlin Wall, provide the lens through which these notions are interrogated and applied in this doctoral research. Although differing in styles, they share ideas, commitment to process surface quality, technical skill and a classical painting education at the venerated Hochschule for Grafik und Buchkunst in Leipzig (Academy for Graphic Design and Buch Art). The Leipzig painters draw heavily on the history of painting and past culture, which is evident in their large-scale, discordant theatrical compositions. By tracing the influences of the Leipzig painters through select case studies, I aim to show that this ancient medium has continued relevance in the 21st century and how painting from the past continues to be a crucial factor in informing the present.
The creative component of the research examines how devices and strategies in figurative painting can successfully visually manifest notions of Event and Sensation as a bodily experience using the mise-en-scéne genre or the staged event. Select historical painters are referenced throughout the research, but Francis Bacon appears as the third solid key figure, as Deleuze’s Sensation is embedded in his unorthodox painting practice. I critically analyse strategies and devices deployed in his work and align them with that of the Leipzig painters. Insights gained from this are generated in my painting practice.
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Shen, Cheen. "The transformation of line, shape and intention in Chinese painting since Xu Beihong and Lin Fengmian." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/272.
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The research of this dissertation is focused on 'transformation' in the development of Chinese painting and takes the three traditional elements in painting-- line, shape, and intention--as methods of observation. The dissertation proposes that Chinese painting has undergone two stages of critical transformation that are worthy of notice: the first occurring in the chaotic situation during Wei Jin North and South Dynasty in the third century, and the second stage lasting from the beginning of the 20th century till now.
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Parker, Margaret Ina, and margaret_p@optusnet com au. "Landscape Painting: Connection, Perception and Attention." La Trobe University. Visual arts and design, 2006. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080225.113947.
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I investigate the lived experience, the actuality of responding to land as a painter. This thesis consists of intensive investigations in the field and further exploration in the studio, resulting in a body of paintings and drawings which form the exhibition. The exegesis explores theories and ideas surrounding the work. The psychological engagement between people, land and art is of major concern. The choice of place selected to paint and the subject matter of rocks is discussed. Painters who work outside or have painted at the same site are considered for comparison with my working methods or concerns. The selective view is intimate. The format of the image and the composition are discussed in terms of proximity and space.
Consideration of the psychology of engagement with land and landscape painting, either as an observer or painter, is a major component of the research. This examination of human psychological development illuminates the origin of our sense of self and how we relate to the land on which we live. The premise of this enquiry is the idea that art and culture could reflect human psychological development. Do art objects contribute to cultural understanding of the relationship of person to environment? A phenomenological perspective is incorporated in this exploration of the interrelation of vision, perception and attention. Can the reality of experience be transferred into the art work? The deep attention to the landscape of Australian Aboriginal people serves as a cultural reference for these investigations.
This study concludes that sentient consciousness involving responsibility for land is an open, effective way of perceiving and depicting landscape. Responsibility for land can be encouraged by the development of cultural ideas based around landscape and can be the result of feeling connected to land. Art can contribute to changes in attitudes to land.
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Ruegg, Jonathan Eric. "Appearances towards a synthesis of experience and expression in painting /." Connect to this title, 2008. http://scholarworks.umass.edu/theses/152/.
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Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.
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Thesis (M.Visual Arts) -- La Trobe University, 2006.Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
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Howard, Jane. "The Sublime and the Beautiful in the Works of Claude-Joseph Vernet." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc500913/.
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This thesis examines the roles of the sublime and the beautiful in the works of eighteenth-century French landscape painter Claude-Joseph Vernet. An introduction to the study, a history of the sublime and beautiful, and an overview of the way these ideas are portrayed in Vernet's calm and storm pendants are provided. How commissions for these pendants relate to theoretical developments of the sublime and beautiful and how Vernet became aware of the these ideas are addressed. The thesis shows Vernet was not dependent on British patrons or on the century's most influential aesthetic treatise on the sublime and the beautiful by Edmund Burke, because Vernet started painting such themes well before Burke's treatise (1757) and did so in response to French patrons.
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Simonsen, Garric. "Some artists paint paintings." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/g_simonsen_042110.pdf.
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Sherwin, Fiona Gill Harry P. "Harry Pelling Gill, a practising artist /." Title page, table of contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahms5541.pdf.
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Mills, Christina Murdoch. "The enigma of the everyday." Diss., [Missoula, Mont.] : The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-06172009-095638.
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Zinai, Kenza. "Le décor des thermes dans l'Algérie antique." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010525.
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Cette thèse est consacrée à l’étude du décor des édifices balnéaires publics et privés dans les cités antiques de l’Algérie, entre le Ile et le Ve siècle ap. J.-C. Cette recherche s’appuie, d’une part, sur des données recueillies dans la documentation publiée et dans les archives (photos, plans, cahiers de fouilles) et, d’autre part, sur un travail de terrain qui a conduit à mettre au jour de nouvelles informations. Après avoir situé les bâtiments et le décor dans les recherches historiographiques, les édifices balnéaires sont examinés du point de vue de la typologie des plans, de la chronologie et sont replacés au sein des tissus urbains afin de mieux cerner la place des différentes catégories. Une étude des inscriptions nous a amenée à faire le point sur les mentions de décors et de matériaux utilisés. Dans un premier temps, les différents types de décor — revêtements de sol (mosaïque, dallage, technique en terre cuite) et de parois (enduit, placage, mosaïque) — sont analysés en fonction de leur technique d’exécution, de leur répertoire et de leur emplacement ; l’élément mobile qu’est la statuaire a été traitée sous ces deux derniers aspects. Cette démarche permet de replacer le décor dans son contexte architectural afin de reconnaître des particularités liées au milieu balnéaire et de déceler des spécificités régionales ou locales. Dans un second temps, est abordée la hiérarchisation des espaces à travers la mise en valeur des aménagements architecturaux et leur ornementationThis thesis studies the decoration of baths in the 2nd-5th c. CE Algeria. The research studies edifices either published or kept in archives, including photos, plans and archaeological reports, and is equally based on fieldwork, revealing data firstly dealt with in this work. No scientific study of baths and their decorative programs has been conducted prior to this research. After a comprehensive study of the state of research of baths and their decoration in North Africa, these discovered in Algeria were thoroughly studied to constitute part of the larger context. Thus typology of the plans, chronology, and the place of baths in the urban tissue where also taken into consideration. Inscriptions found in various baths in North Afiica, including these of Algeria were newly studied, to reveal further indispensable information and to widen our knowledge of the materials used, the specific terminology, the patrons, the decoration, etc. The present research concentrat on two topics: first, the different types of decoration, floor as well as walls, were analyzed in view of their technique, iconography, and which part of the bath they were decorating. Second, statues found in the baths, which were studied according to their subject matter and their specific placement. The reading of the different decorative systems enabled to put the decoration in its architectural context and to disclose the particular elements characterizing baths worldwide as well as their specific regional and local manifestations. Following the analysis of the architectural elements of baths and their embellishment, the research tried to establish the coherence between both function and decoration
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Dakin, Jacqueline. "Communicative behaviour of young children in play and painting /." Title page, contents and abstract only, 1987. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsd135.pdf.
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Jacky, Christine Elizabeth. "Painting with Light for A Woman's Cause: The Lighting Design of Lysistrata." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/354.
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This thesis presents the evaluation, research, and written documentation of the process in the lighting design of Lysistrata: A Woman's Translation. Chapter One contains two parts. The first is in-depth research specific to the production as well as an analysis of the script. The second part is the Statement of Goals, Methodology and Procedures. Chapter Two presents the design process during the production and the implementation of the design processes. Chapter Three, the final chapter, discusses and examines the responses and includes a self-evaluation of the production. The appendices of this document contain research images, hand renderings and computer renderings, drafting, and production photographs.
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Kennedy, Costa Michael. "The Absent Artist: Muteness and Fiction in Recent Painting." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2470.
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For the written component of my thesis, I am attempting to make sense of a current strain in contemporary painting which, generally speaking, tends towards reduction, humble materiality, lack of overt, didactic critique, and a scholarly interest in outmoded or overlooked art historical movements and figures. These are tendencies with which, as a painter, I feel both affinities and differences. Rather than rigidly define a “movement,” I will identify prevalent modes but also highlight individual strategies. I will begin by outlining some of the basic, underlying problems in painting today. I will then examine, as case studies, three young painters—Josephine Halvorson, Richard Aldrich, and Joe Bradley—who I feel exemplify and yet in some ways transcend this trend. I will speak about the work of each in terms of the context in which it is made. However, part of the point of this thesis is to see how individual works by these artists might be talked about apart from their “scene.” I will therefore examine a specific work by each artist in terms of the visual information it is supplies. I will go on to examine two critical reactions (and in one case a critical-fictional reaction) to this kind of work—that of Raphael Rubenstein’s “Provisional Painting” and Christopher K. Ho’s “Hirsch E.P. Rothko’s Hirsch E.P. Rothko”—in an attempt to assess how this type of work is being interpreted by the critical community. Lastly, I will provide my own explanations for why this work is being produced now, why (or if) it is relevant, and what problems it proposes for painters in the future. Although this is not a thesis that addresses my own work directly, it is my intention to use the art-critical process as a means to clarify my own concerns.
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Dixon, Erin. "Parables." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04252008-135822/.
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Thesis (M.F.A.)--Georgia State University, 2008.Joseph Peragine, committee chair; Teresa Bramlette-Reeves, Cheryl Goldsleger, committee members. Title from file title page. Electronic text (25 p. : col. ill.) : digital, PDF file. Description based on contents viewed Aug. 14, 2008. Includes bibliographical references (p. 16).
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Fitzpatrick, Devin Marie. "The interrelation of art and space an investigation of late nineteenth and early twentieth century European painting and interior space /." Online access for everyone, 2004. http://www.dissertations.wsu.edu/Thesis/Spring2004/d%5Ffitzpatrick%5F043004.pdf.
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Feagin, T. André, and T. André Feagin. "Homenaje a Joaquín Sorolla (Cuadros Sinfónicos): An Analysis of Bernardo Adam Ferrero's Musical Interpretation of the Programmatic Themes in the Paintings of Joaquín Sorolla." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624526.
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In 1988 Bernardo Adam Ferrero's wind band composition Homenaje a Joaquín Sorolla was premiered at the International Wind Band Contest in Valencia, Spain. This relatively unknown wind band composition combines the elements of visual art and music to create a contemporary work for wind band using oil-canvas paintings of Valencian artist Joaquín Sorolla as the source of inspiration. In this document, the author discusses pertinent biographical information about the composer and the artist, and examines the wind band composition and the paintings through musical and visual analysis to evaluate Ferrero's musical interpretation of programmatic themes of the paintings. Through analysis of the craftsmanship of this composition and its connection to the visual arts, the author advocates for Homenaje a Joaquín Sorolla’s inclusion in the core wind band repertoire.
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Burton, Calvin. "Painting as Becoming: Reflections Between Content and Form." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/48.
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Painting As Becoming: Reflections Between Content and FormThis thesis is the culmination of my two years at graduate school. It lays out some of my ideas about painting as a particular approach to art making. The development of my work has not always followed a linear path some ideas take longer to emerge, some vices longer to recognize. The text is separated into four main sections: Form, Development, Color, and Landscape. The main issue that I explore is the relationship between abstraction and representation. Tending to be over-logical, I have avoided explicit content' in my work, because I am afraid that it will pin it down. Painting abstractly initially allowed me to exercise the other side of my brain, to avoid meaning'. But abstraction is also a language that can be assimilated and therefore does not really offer an enduring solution to the problem of content.My paintings are usually structured in a logical way: composition, color harmony and dissonance, perspective, light, and space - but my process also leaves room to explore the illogical and the absurd. I began to appropriate representational imagery into the work to weave in additional information a textual layer to frame and foil the objectivity of oil paint. This juxtaposition puts paint in the role of becoming at the same time that it puts the image in the role of disintegrating. Importantly these roles are interchangeable. The imagery itself is derived from places that have been significant to me by effecting the formation of my scattered sense of identity: my birthplace in Virginia, my upbringing in Lake Tahoe, my studies in New Hampshire and Rhode Island, and my subsequent move out of the country to Mexico, where I lived until returning to Virginia to pursue an MFA. The transitions between abstraction and representation resonate with the intersection of the personal and the collective.Ultimately, the comings and goings of interpretation that characterize my work occur through the lens of beauty. I cannot define beauty, but I maintain the belief that it can be found in painting, and that its primary function is to remind us to see.
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Mitchell, Laura C. "Retrotopia: An exhibition – and – Mashup and expanded painting: A lens on liquid consumerism: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2589.
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The aim of this research project was to synthesise diverse theories addressing consumerism to expand on practice-led research in the visual arts as a vehicle for critiquing consumerism. Within this aim, mashup was developed as a practice-led research method. Another intent was to contribute to the scarcity of research in contemporary arts (both theoretical and practical) involving the notion of mashup methods as applied to expanded painting.
There is a lack of meaning in contemporary life, in our global financial crisis and COVID-19 digital age. Consumerism fills the void created by this lack of meaning by becoming an incessant, unfulfilled desire. Philosopher Zygmunt Bauman’s term “liquid life” provided a starting point to research the sociological implications of this contemporary human condition: the search for meaning through consumption and subsequent unfulfilled desire. Hal Foster’s discourse provided a historical and critical art perspective. This research also drew on consumer culture theorists’ analysis of retro-branding: the term “retroscapes” is used to refer to artwork source material that addresses 21st-century consumer landscapes. In terms of consumer culture, the 1950s–1960s pop art movement is analysed, particularly how it has affected and influenced contemporary art. The research was informed by the practices of key artists, ranging from artists associated with the pop art movement, 1980s artists and contemporary artists Julia Wachtel and Corinne Wasmuht.
This project is the culmination of a series of exhibitions that explored how practice-led research using mashup methods and retroscape imagery can be used to critique hyper-consumerism. Using hybrid painting practices and juxtaposing and integrating street-based and studio-based methods with contemporary and traditional paint and electronic media, this research project offers possibilities for critiquing a society where capitalism rapidly reinvents itself. Further, this project investigated how theoretical perspectives on liquid modernity and consumerism can inform a contemporary arts practice. Imagery from my United States Appalachian dirt farmer/miner heritage provided a visual metaphor and coherent personal narrative to illuminate the transformation from being a valued modern producer to losing status and vocation as society evolved into a liquid modern society of consumers. This research connects painting in the current austerity climate to the evolution of mashup in 21st-century visual arts. Practice-led research methodology was used as a catalyst for studio research. Mashup methods were applied to the mediums of painting and expanded media to create an embodied approach to comprehend and critique consumerism.
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Yelland, Christine J. "The effects of stimulus arrangement and colour choice on children's painting behaviour /." Title page, table of contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsy43.pdf.
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Rusenova, Ina Boryana D. "Between Familiarity and Estrangement:Making Paintings From Constructed Dioramas." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460672646.
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Knight, Liezel Iris. "Cytosystematics of Gerbils." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79821.
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Thesis (MSc)--Stellenbosch University, 2013.ENGLISH ABSTRACT: The objectives of this research were to: (1) accurately identify chromosome homology, (2) identify chromosome rearrangements leading to diploid number variation and chromosome evolution to formulate the ancestral gerbil karyotype and distinguish homoplasy from hemiplasy, and (3) construct a phylogeny using chromosomal characters based on G-banding and fluorescence in situ hybridization (FISH) of ten gerbil species representing five genera (Gerbilliscus, Desmodillus, Psammomys, Meriones, Taterillus), with probes derived from flow-sorted chromosomes of G. paeba (GPA, 2n = 36), and polarised with the murid outgroup, Micaelamys namaquensis. All paints successfully hybridized to all ingroup and outgroup taxa. Three of the 19 G. paeba painting probes (GPA 7, 9 and X [including the X; autosome translocation in T. pygargus]) were conserved as whole chromosomes, and 16 were rearranged (GPA 1-6, 8, 10-17). Chromosome painting correctly identified the homology of the heterochromatic GPA 7, which was conserved as whole chromosomes in all gerbils. Thirteen previously misidentified G-band homologies were correctly identified with FISH; one in D. auricularis, and six each in G. kempi and G. gambianus. Homology maps identified 57 syntenic associations and that 19 rearrangements are responsible for diploid number differentiation among species. Parsimony analysis of the two matrices (syntenic association and rearrangements) retrieved a sister-species relationship between G. gambianus and G. kempi, and P. obesus and M. persicus (syntenic associations), an unresolved clade that included D. auricularis, G. gambianus, P. obesus and M. persicus (chromosome rearrangements) and a basal position for T. pygargus. Phylogenies derived from chromosomal data failed to resolve the deeper nodes. Consequently, characters were subsequently mapped on a molecular consensus tree (including a chronogram). This allowed inferences on the rate of chromosome evolution, which indicates that the basal D. auricularis is separated from Gerbilliscus by nine rearrangements (four Robertsonian fusions, five inversions), at a rate of 1.25/Myr. Gerbilliscus species evolved with an average of 10 Robertsonian rearrangements involving GPA 1–6, 8, 10 – 12, of which four are homoplasies (GPA 1-3, 5), one a potential hemiplasy (GPA 5) to southern African taxa, one a synapomorphy to G. paeba and G. tytonis (GPA 6), two synapomorphies in G. kempi and G. gambianus (GPA 11, 12), and three are synapomorphic to Gerbilliscus (GPA 4, 8, 10). Homoplasic characters across the two clades include GPA 3 (T. pygargus, G. paeba and G. tytonis) and GPA 5p-q prox (D. auricularis, P. obesus and M. persicus). Gerbilliscus (excluding G. paeba and G. tytonis) had the slowest chromosome evolutionary rate of < 1/Myr; G. paeba and G. tytonis were slightly faster at 2/Myr. The clade comprised of M. persicus, P. obesus and T. pygargus evolved faster, at a rate of 4/Myr (seven fissions, five fusions, two inversions), 2.3/Myr (seven fissions, two fusions, four inversions) and 16/Myr (eight fusions), respectively, indicating heterogeneity among Gerbillinae: A slow rate in Desmodillus and Gerbilliscus, and a fast evolutionary rate in Psammomys, Meriones and Taterillus. The putative ancestral karyotype was postulated to be 2n = 56, and included five biarmed autosomes and X chromosome, and 22 acrocentrics. This is provisional, since Brachiones, Desmodilliscus, Pachyuromys, Sekeetamys, Gerbillus and Rhombomys were not analysed.
AFRIKAANSE OPSOMMING: Die objektief van hierdie navorsing was om: (1) akkurate chromosoom homologie te identifiseer, (2) chromosoom herranskikkings te identifiseer wat mag lei tot diploide chromosoom getal variasie en chromosoom evolusie ten einde te formuleer die voorouer karyotiepe van “gerbils” sowel as om te onderskei tussen homoplasie en hemiplasie, en (3) die konstruksie van 'n filogenetiese boomstam gebasseer op chromosoom karakters verkry vanaf G-banding en FISH (fluoressensie in situ hibridisasie) van tien “gerbil” spesies wat vyf genera verteenwoordig (Gerbilliscus, Desmodillus, Psammomys, Meriones, Taterillus), deur van geskikte sondes gebruik te maak wat verkry in deur floei-sorteerde chromosome van G. peaba (GPA, 2n = 36), wat gepolariseerd was met die Murid buitegroep, Micealamys namaquensis. Alle chromosoom verwe het suksesvolgehibridiseer aan al die ingroep en buitegroep taxa. Drie van die 19 G.peaba verfwe (GPA 7, 9 and X (including the X; autosome translocation in T. pygargus) was bewaar as heel chromosome, en 16 herrangskik (GPA 1-6, 8, 10-17). Chromosoom verfwing kon suksesvol die homologie van die heterochromatise GPA7 identifiseer wat gekonserveerd was as heel chromosome in al die “gerbils”, wat moontlik aandui die teenwoordigheid van funksionele gene. Dertien voorheen mis geidentifiseerde G-band homologieë was gekorregeer deurmiddel van FISH, een in D. auricularis, en ses elk in G. kempi en G. gambianus. Homologie kaarte het 57 sintesiese assosiasies geidentifiseer en dat 19 herrangskikings verantwoordelik was vir diploied nommer differensiasies tussen spesies. Parsimonie analises van die twee matrikse (sinteniese assosiasies en herrangskikings) wys 'n suster-spesie verwantskap tussen G. gambianus en G. kempi, en P. obesus en M .persicus (sinteniese assosiasies), 'n unopgeloste klade wat D. auricularis, G. gambianus, P. obesus en M. persicus (chromosoom herrangskikkings) opmaak vorm die basale posisie vir Taterillus pygargus. Filogenetise boomstamme verkry vanaf die chromosomale data misluk egter om die dieper nodes op te los. Karakters was daarna geplot op 'n konsensus boom (insluitend 'n chronogram). Dit het dieper insigte toegelaat soos die tempo van chromosoom evolusie, wat aandui dat die basale D. auricularis geskei is vanaf Gerbilliscus met nege herrangskikkings (vier Robertsonian, vyf inversies) teen 'n tempo van 1.25/Mja. Gerbilliscus spesies het verander met 13 herranskikinge (11 saamsmeltings en twee inversies), waarvan vier potensiele homoplasies/hemiplasies (GPA 1-3, 5). Met die uitsluitsel van G. paeba en G. tytonis, het Gerbilliscus die laagste chromosoom evolutionêre tempo van al die “gerbils” < 1 /Mja, G. paeba en G. tytonis was ietwat vinniger met 'n tempo van 2/Mja. The klade wat bestaan uit M. persicus, P. obesus en T. pygargus verander vinniger as Desmodillus en Gerbilliscus, met 'n evolutionêre tempo van 4/Mja (sewe fissies, vyf samesmeltings, twee inversies) en 2.3 Mja (sewe fissies, twee samesmeltings, vier inversies) onderskeidelik, wat grootendeels tandem was. Die karyotiepe van Taterillus pygarus het agt samesmeltings gehad wat predominant tandem was, teen 'n tempo van 16/Mja. Terwyl meeste van die herrangskikinge synapomorfies was, was sommige homoplasties of hemiplasties. Homoplastiese karakters wat gedeel was tussen die twee klades sluit in GPA 3 (in T pygargus en G. paeba en G. tytonis) en GPA 5p-q prox (D. auricularis, P. obesus en M. persicus). GPA 5 was hemiplasties aan alle suider Afrikaanse taxa. Die analise van sinteniese assosiasies en chromosoom herrangskikings was geanaliseer in PAUP, en gepolariseer met die murid Micealamys namaquensis. Taterillus pygarus het 'n basale posisie in beide filogenetiese boomstamme. Die data stel voor dat FISH meer akkurate resultate lewer op chromosoom homologie as die streng gebruik making van banding patrone. Verder het die tempo van chromosoom evolusie gevarieër vanaf stadig (Desmodillus en Gerbilliscus) tot vinnig (Psammomys, Meriones en Taterillus), chromosoom karakters egter was nie sterk genoeg om dieper filogenetiese verwantskappe te ondersoek nie. Die voornemende voorouerlike karytiepe van “gerbils” was hier gehipotiseer as 2n = 56. Drie bevindinge resoneer uit hierdie studie. Eerstens, chromosoom verwing kon chromosoom homologieë wat voorheen deur banding studies mis ge-identifiseer was korrek identifiseer: hierdie sluit in een konflik in D. auricularis, en ses elk vir G. kempi en G. gambianus. Tweedens, die homologie van die heterochromatiese of C-positiewe autosome, GPA 7, was gedemonstreer as bewaar as 'n heel chromosoom as beide heterochromaties en euchromatiese chromosome in alle “gerbils”, wat aandui dat dit functionele gene dra. Derdens gebasseer op simpleisiomorfe wat geidentifiseer was vanaf die homologie kaarte en vergelykbare opleidings, hipotiseer ek dat die voorgestelde voorouer karyotiepe bestaan uit ses autosome (GPA 7, 9, 13, 15, 16, 17) en die X chromosoom, wat onveranderd gebly het tussen alle suider Afrikaanse taxa. Met die uitsluitsel van GPA 7p/7q, was almal behoue as twee-armige chromosome in die voor ouer karyotiepe. In lyn met hierdie is, 21 akrosentries GPA1p,1q, 2p, 2q, 3p, 3q, 4p, 4q, 5p, 5q, 6p, 6q, 8p, 8q, 10q, 10p, 11p,11q, 12p, 12q en 14, wat lei tot die voorgestelde voor ouerlike diploiede chromosoom getal van 2n = 56. Diè karyotiepe word voorgestel as 'n werkende hipotese deels omdat Brachiones, Desmodilliscus, Pachyuromys, Sekeetamys, Gerbillus en Rhombomys nie geanaliseer was nie, en dat die idiale buite groep vir “gerbils” van die Acomyinae nie gebruik was om die karakters te polariseer was nie.
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Lake, G. Thomas. "The five paintings of the Adoration of the Magi by Sandro Botticelli /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61261.
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The thematic unit formed by the five versions of The Adoration of the Magi painted by Sandro Botticelli provide a special opportunity for studying his artistic development. An investigation of these five paintings shows that Botticelli aimed toward a goal of perfecting compositional techniques. He systematically made alterations to these works in order to create special point of view effects.This thesis outlines the general trends in art with respect to the Adoration theme and then concentrates on a demonstration of Botticelli's attempts at correlating compositional devices and the unique features developed with respect to spectator involvement. This selected study allows for a careful examination which spans the artistic career of Sandro Botticelli. As a result, it can be shown that it was perhaps Botticelli, rather than Leonardo da Vinci, who was primarily responsible for the development of a compositional format which became a foundation stone of High Renaissance compositions.
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Murphy, Michele P. "Colour choice and exploratory behaviour in the easel painting of nursery school children /." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsm978.pdf.
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Klarr, Caroline Charlot Jean. "Painting paradise for a post-colonial Pacific the Fijian frescoes of Jean Charlot /." [S.l. : s.n.], 2002. http://etd.lib.fsu.edu/theses/available/etd-04152005-144333/.
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Riddoch, Jane V. "The effect of classical music on painting quality, attitude and behaviour for students with severe intellectual disabilities." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/95.
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The main purpose of this study was to investigate the effectiveness of a new Pictorial and Musical Visual Arts Program for students with severe intellectual disabilities. In particular, to learn whether the addition of classical music as background helped students improve the quality of their abstract paintings, attitudes and behaviour in class.
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Parry, Ariana J. "Flow: Abstracting Mundane Environments." Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1481565925915224.
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Strickler, Jason A. "Drift." Claremont Graduate University, 2010. http://ccdl.libraries.claremont.edu/u?/stc,78.
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Mann, Pamela Florence. "Meaning, gesture and Gauguin." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35891/1/35891_Mann_1998.pdf.
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This thesis discusses the difference between two dimensional painting and sculpture although they have proceeded along parallel paths. Feminist. Post-colonial and psychoanalytical discourses intertwine to cover complexities within the artwork of Gauguin and
my own. Just as painting and sculpture run along parallel paths though covering problems inherent in their differences so to do I attempt to describe similarities at the same time as recognising the areas where the two do not meet. Issues covered include the search for
meaning, in such a way as to make the art works relevant at the close of the twentieth century. A major consideration for a sculptor, that will be discussed, is that reading visual, two dimensional images is something everyone is practised at, in contrast to reception
of three dimensional works. Audiences are less familiar with semiotic readings of sculpture. It is my contention that Gauguin's art and life can be compared to the way an audience views sculpture. His relations with women in particular, had this overwhelming double standard. He, at the same time as he adored and idealised the female totally rejected their involvement in his life in any meaningful way.