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1
Smith, Stephen Connolly. "New Paintings." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/smith/SmithS0505.pdf.
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In the Lives, Vasari advises the artist to aim his arrows high, and above the mark which he intends to hit. In that way the aspiring artist compensates for the fact that the arrow seems always to fall short of the target. Vasari's advice was given to artists whose goal it was to represent nature and, particularly, the human body. And since Vasari felt that no artist would ever come as close to representing the body as perfectly as Michelangelo, one could do no better than to place the efforts of Michelangelo in their sights, and aim at surpassing him.
2
Land, Robert William. "Little Paintings." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1035.
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Little Paintings is a document that describes the creation, influences and process of two films, "Betty Creek" and "New Berlin". The films are personal responses to my experiences growing-up and living in the Southern United States. The Thesis illustrates the influences of painters such as Jimmie Lee Sudduth and Willie Jinks and how their raw painting methods inspire the development of my films using a tactile approach to filmmaking.
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Klos, Matthew Peter. "White paintings." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1472.
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Thesis (M.F.A.) -- University of Maryland, College Park, 2004.Thesis research directed by: Dept. of Art. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Zhang, Naijun. "Recent paintings untitled /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1642.
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Thesis (M.F.A.)--West Virginia University, 2000.Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).
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Ender, Scott. "Paintings and explorations /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/27.
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Thesis (B.F.A.)--California Polytechnic State University, 2009.Project advisor: Kathryn McCormick. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
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Bundgaard, Helle. "An Indian cloth painting and its art worlds : perceptions of Orissan patta paintings." Thesis, SOAS, University of London, 1994. http://eprints.soas.ac.uk/29346/.
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This study examines how a particular kind of Indian painting comes to have value. The focus of analysis is on the social life of paintings rather than the purely aesthetic. This is explored through a detailed examination of perceptions of the paintings amongst producers, consumers and art critics. The study is an attempt to apply the sociological institutional theory of art on Orissan patta paintings by developing the sociological approach into what I consider to be an anthropological approach. The Orissan patta paintings, with which the study is concerned, are circulated not only within India but also abroad and thus move through different cultural milieus. Following Arjun Appadurai (1986) pattas can be said to have a social life, whose value and meaning change through time and place (1986). The paintings are located in several value systems. These systems will often meet in the very transaction which moves a painting from one sphere to another. One of the central questions raised in the thesis is how particular kind of paintings come to have value and whether they are endowed with different layers of value. The model I have developed is of an art world consisting of interpenetrating layers with different semantic registers. The differences in evaluation and interpretation of the paintings at different points in their "social life" lead me to argue that the layers have the character of separate yet interacting worlds.
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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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Watson, Leonie. "Collecting the self paintings /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070821.122506/index.html.
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Tederstrom, Benjamin Harlin. "Seriously sexy silly paintings." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316539043.
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Luk, Yu-ping. "Ren Bonian's Zhong Kui paintings." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30568316.
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Pham, Van Khanh. "Theatricality in Tintoretto's religious paintings." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22618.
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Tintoretto, one of the great Venetian masters of the sixteenth century, is renowned for his compositional innovations. The painter also worked as a stage and costume designer for the Compagnie della Calza. As a result, he selected and combined elements of other disciplines in his pictures.This thesis focuses on the fusion of the arts in Tintoretto's imagery. A comprehensive analysis of this interdisciplinary aspect reveals the subtlety of Tintoretto's creative mind. The challenge is to discover Tintoretto as a stage designer who conceived pictures as theatrical performances. Instead of the traditional preparatory sketch, he built a miniature stage in order to visualize the scene in tangible forms existing in light and space. The design of the setting, the gestural choreography of his personages and the distribution of lighting were analysed and then translated into painted illusion. With this unusual methodology, Tintoretto invented forceful mise-en-scenes which induce the spectator to perceive the imaginary as real. A substantial knowledge of stagecraft also enabled him to bring to vibrant life the dramatic episodes of the Bible on canvas. Through such artfully constructed theatrical illusion, Tintoretto not only re-creates a vision for his audience, but above all, conveys the depth of his spiritual experience.
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Luk, Yu-ping, and 陸於平. "Ren Bonian's Zhong Kui paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B30568316.
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Phillips, Shirley. "Bellori's ekphraseis of Poussin's paintings." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343269.
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Gardner, Genetta Ann. "The paintings of Domenico Puligo /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984313575.
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Christensen, Ashley Mae. "First Psalm: Poems and Paintings." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3062.
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This collection of poems and paintings seeks to find the places where visual and written communication intersects, and the places where those two media diverge. The collection consists of poems and paintings juxtaposed, as if in conversation with one another throughout the pages. The collection treats each painting and poem as a separate attempt at prayer. As a reader turns the pages, similar questions are asked again and again, but in different settings and with different outcomes. This collection focuses on finding reconciliation between the oral culture of storytelling and the written culture of ideas, all within the context of prayer.
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Streeter, Stephanie. "Stray: Paintings, Drawings, and Sculpture." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/honors/18.
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The artist discusses her Bachelor of Fine Arts Exhibition, Stray, held at Slocumb Galleries, East Tennessee State University, from April 4th to April 8th. The show exhibit consists largely of self-portraits derived from the artist’s dreams, in an array of media including mixed media on paper, oil on canvas, and wire frame sculpture, all completed in the Spring of 2011, with the exception of one sculpture.
Ideas explored include the influence of dreams, representation of the self, masking, disguising, the loss of home, and the tendency of memory to fade. Influences discussed include the written work of Milan Kundera, as well as the painting of Marlene Dumas, the early printmaking of Paul Klee, and the work of John Currin.
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Walker, Mike. "Object-images : the exposed paintings of Callum Innes and the phenomenology of non representational painting." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/62716/.
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This thesis seeks to explore the notion of non-representation in painting and consider our experience of such paintings in phenomenological terms. It is centred around an analysis of the Exposed Paintings by Callum Innes, made from 1993 to date, and employs the term object-image to examine how such paintings make a viewer aware of their material actuality or corporeality. It considers object-images in relation to the theory and practice of American art in the middle of the twentieth century as well as British painting and sculpture of recent decades. The main section of the thesis draws upon the writing of Maurice Merleau-Ponty to ask questions of our perceptual experience of non-representational paintings especially in relation to the idea of the reciprocity of viewer and viewed.
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Maetani, Masumi. "Transformation in the aesthetics of tea culture in Japan." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39634280.
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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.
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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.
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Wyatt, Nicholas. "The Christian image and contemporary British painting : the communication of meaning and experience in religious paintings." Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/17679.
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My research uses my painting practice as an experimental and investigative tool to test the capacity of practical aesthetics to generate similar or analogous experiences to the non-dualist reception aesthetics of certain key examples of post-Tridentine (1563) Catholic Counter-Reformation devotional imagery, particularly, The Ecstasy of St. Theresa (1647-1652) by Gian Lorenzo Bernini and the Incarnation (1596-1600) by El Greco. I apply an interpretative method to the development of Christian imagery within painting in the post-Reformation period and its relationship to the economic system of modern capitalism and the Enlightenment aesthetic of the sublime. My research aims to see what, if any, meanings and experiences, which, I believe, were present in the affective aesthetics of certain Counter-Reformation imagery can, through the contemporary aesthetics of my painting practice, be reconstructed or re-generated again as similar experience to those original pre-Enlightenment non-dualist meanings and experiences. The experience I aim to generate in my paintings is an affective and experiential narrative of presence, - Eliot's 'unity of thought, feeling and action', which I argue is found in the meaning and experience of those key Christian devotional images.
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Wright, Margee Stanchfield. "Jasper Johns' Words in His Paintings." VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/127.
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The stenciled, sculpted, or painted word is a central motif in approximately thirty major paintings produced by Jasper Johns between 1955 and 1964. For Johns, who often recycles important ideas in his work, the written word is a key element that transcends other stylistic and iconographic transformations during this period. The words in Johns' paintings refer to the names of colors, label familiar objects or title his compositions. The written word appears in works by other artists prior to 1955, and therefore Johns' significance lies not so much in the establishment of a new aesthetic vocabulary, but in exploring ways that language works in the visual arts. Because Johns' use of word imagery from 1955-1964 is innovative and important, it is the purpose of this thesis to examine the different ways that Johns approaches the subject of language within the framework of painting.
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D'Elia, Una Roman. "The poetics of Titian's religious paintings /." Cambridge : Cambridge University Press, 2005. http://catalogue.bnf.fr/ark:/12148/cb39938959v.
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Snowball, Arryn. "Delineating Nihilism: Colin McCahon's Last Paintings." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/368119.
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This thesis analyses a series of text paintings by New Zealand artist Colin McCahon,
and proposes that by delineating nihilism, they resist being nihilistic. All four
paintings, The Emptiness of All Endeavour: Triptych, Is There Anything of Which One
Can Say, Look This Is New?, I Applied My Mind, and I Considered All the Acts of
Oppression (painted between 1980 and 1982), draw their text from ‘The Book of
Ecclesiastes’, as translated in the New English Bible (1970). While previous
discussions of the works have tended to emphasise the biographical element of the
works (i.e., McCahon’s life and his struggle with faith), I argue, this denies a full
understanding of the work’s subtleties. As a counter to this, I closely analyse the text
in the paintings, comparing it to its Biblical source, and drawing on theological
criticism of Ecclesiastes.
In so doing, I situate McCahon’s paintings in relation to arguments surrounding
contemporary nihilism and the death of painting, while also elucidating the
theological relationships expressed in the works. Drawing upon Simon Critchley’s
(2004) model for delineating nihilism, I propose that, as an act of stark and yet
uncompromising resistance, the works manage to offer a ‘continuing’ in the face of a
meaningless and futile world. As McCahon’s work has not previously been discussed
in relation to the discourse on nihilism, this thesis offers an original contribution to
the growing body of writing on McCahon. Moreover, through considering his works’
materiality and content, I suggest McCahon’s practice may offer a model for
contemporary painting to engage with difficult questions of meaning and belief.
This is to certify that ‘Delineating Nihilism: Colin McCahon’s last paintings’ has not
been previously submitted for a degree or diploma in any university. To the best of
my knowledge and belief, this research paper contains no material previously
published or written by another person except where due reference is made within the
paper itself.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Montenegro, Jennifer. "Wild: Paintings Intertwining Body and Mind." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/413.
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I believe creativity can be a direct link to the soul, a space to have a conversation with the divine and I seek to explore this idea in my art. I also want to invite the observer to move through my work and explore the space contained within their own emotions and sensibilities, beyond boundaries, allowing the work to linger and sink in.
Translating these ideas into the form of my works, following my intuition intelligently, involves an intensive process of many layers of paint and textures combined with thread. My work involves the intersections of spirituality and art making through the experience of meditation.
Engaging in traditional painting methods with abstract formations and intertwining thread to symbolize body and mind. Exploring the invisible, which is something you cannot obtain like meditation and making it visible through human experience. Inspired by Maurice Merleau-Ponty theoretical thinking on placing consciousness as the source of knowledge.
Painting is my meditation, it is a tool to connect, dissolve, and release. Thread is the link to my ancestral consciousness and femininity. My work creates a wild boundless space, welcoming all emotions and thoughts to manifest into gestural and abstract landscapes. There is no right or wrong way to experience the work, what matters most is the totality of presence and observation of the spaces in-between.
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Piovesan, Rebecca. "Archaometrical investigations on mortars and paintings at Pompeii and experiments for the determination of the painting technique." Doctoral thesis, Università degli studi di Padova, 2008. http://hdl.handle.net/11577/3426140.
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Archaeometrical investigations were performed on 127 samples collected from the Temple of Venus at Pompeii, by means of OM, SEM, ESEM, XRD, micro-ATR, FT-IR, Mössbauer spectroscopy, EMPA and image analysis. The materials analysed were composed of mortars (from walls, floors and hydraulic structures) and paintings. The main aim of the research was to characterise these materials to determine the preparation recipes, the technological knowledge and the provenance of the raw materials. To this aim the aggregates identified in the mortars were petrographically compared with eighteen samples of sand from the Neapolitan coastline and from borehole cores performed in the area that lies in front of the Temple of Venus. A correlation between functionality and age of the structures and recipes of samples was also carried out. Experiments were also performed in order to recognise an objective method for the recognition of the fresco and the mezzofresco painting techniques. Results from experiments were tested against samples of paintings from the Chiaravalle Abbey (XIV century) for which the use of fresco, dry finishing and mezzofresco is well documented, and then compared with the paintings of the Temple of Venus.Numerosi campioni di malta e finiture pittoriche (127) provenienti da ambienti funzionalmente e cronologicamente differenti sono stati prelevati dal sito archeologico del Tempio di Venere a Pompei e sottoposti ad indagini OM, SEM, ESEM, XRD, micro-ATR, FT-IR, spettroscopia Mössbauer, EMPA e analisi di immagine. Lo scopo principale dello studio è stato quello di caratterizzate tali materiali per ricavare informazioni riguardanti le ricette di preparazione, le conoscenze tecnologiche e la provenienza delle materie prime. A tale scopo, l’aggregato identificato nelle malte analizzate è stato confrontato da un punto di vista petrografico con diciotto campioni di sabbia provenienti dalla costa napoletana e da sondaggi eseguiti nell’area prospiciente il tempio di Venere. Le ricette riconosciute sono state inoltre correlate con la funzionalità e l’età delle strutture architettoniche di provenienza. Allo scopo di determinare una procedura analitica efficace per il riconoscimento delle tecniche pittoriche ad affresco e mezzofresco è stato inoltre svolto uno studio su campioni appositamente prodotti. I risultati di tale sperimentazione sono stati testati su cinque campioni provenienti dalla abbazia di Chiaravalle (Milano) per i quali dati storico-artistici confermano l’esecuzione secondo tecnica pittorica ad affresco, secco e mezzofresco. I criteri e la metodologia così ricavati sono stati applicati ai campioni di finiture pittoriche murarie provenienti dal tempio di Venere.
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Maetani, Masumi, and 前谷真寿美. "Transformation in the aesthetics of tea culture in Japan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39634280.
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Wilson, John Human. "The life and work of John Hoppner (1758-1810)." Thesis, Courtauld Institute of Art (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360047.
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Orlandi, Franco. "Arabesque, an exhibition of paintings and prints." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq21537.pdf.
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Malinowski, Janusz Wojciech. "Between paintings, a study of pictorial space." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0018/MQ47983.pdf.
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Jung, Chien-Wen, and 榮芊雯. "Painting to Photo: Compositing Photos for Realizing Paintings." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/76344817748468053151.
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碩士國立臺灣大學
資訊網路與多媒體研究所
101
Before the widespread of modern capture devices, painting played an important role in depicting and recording the real world for human. These paintings provide immediate depictions of the real world, and usually have artistic appearances. While modern devices aim at recording the world in the form of photorealistic appearance, it is challenging to produce a photorealistic counterpart of a painting. In this paper, we present a method for ``transferring'' an input painting into a photorealistic appearance by referring several photos which are partly similar to the painting. With a number of user-specified corresponding strokes on both the painting and photos, the ``transferred'' result is generated by deforming these corresponding strokes with a structure-aware warping technique and composing the warped photo regions with the painting-guided compositing technique. We demonstrate the effectiveness of the proposed method on a variety of paintings.
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Yang, Shu-Ching, and 楊淑菁. "Installment Paintings and Paintings for Installment." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/85003869404427982978.
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碩士國立臺北教育大學
藝術與造形設計學系碩士班
101
"Installment paintings and paintings for installment," my graduation exhibition, is the core concept of my creation. Through two installment artworks of the same series but different contexture, I tried to use the space to construct a familiar but strange special environment, which is unlike the ordinary painting. I tried to deconstruct, transform, recombine, and install daily materials into the space in order to create a new three-dimension painting thought. Elements of the paintings have been taken into consideration in this "Installment paintings and paintings for installment." Moreover, new paintings elements can be displayed in the space while my hands and body fully were fully engaged in this space creation. Therefore, viewers can have direct conversation with the artwork. Paintings can go beyond plane vision. The new painting format in the three-dimension space changes the original viewing experience. Paintings become vivid creatures. Paintings can cross the space. Paintings become interesting because the fundament of the paintings are reserved in the artwork and added by the viewers’ perspectives. Daily materials were used for paintings, such as wrapping boxes, plastic bags, plastic strings, hemp ropes, ribbons, discarded wood, or scrub sponge. The materials that I collected were transformed, reconstructed, weaved, and painted into their own three-dimension space. Through installment, these materials can freely have conversation with the space. Of the series of artwork of the "Installment paintings and paintings for installment," I preserved the characteristics of the original materials in the first artwork. I used different colorful materials to create the vividness of new paradise, so the viewers can feel like attending a hustle and bustle carnival. The second artwork is created in white. I used different white materials and install them in the white space in order to create a calm and light space. Viewers can feel like floating on the cloud full of illusion and reality.
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王道乾. "The Painting Creation Based on Taiwan Temple Decoration Paintings." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/01801897884905366879.
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碩士臺北市立師範學院
視覺藝術研究所
93
Entering the 21st Century, the folk belief in Taiwan has undraped its veil of mysticism, but the temple still plays an important role in Taiwan society. From the cultural point of view, the temples preserve the complete assets of traditional folk arts in architectures or temple fairs, and are the main objects to reflect the folk cultures and various traditional arts. Therefore, the unique cultures derived from temples become the native characters and indispensable parts in Taiwan.Based on the above theory, the process of this research is, by taking the study on temple decoration paintings in Taiwan as a starting point, absorbing the nutriment of creation from the discussion of traditional arts, realizing the humanity activities and social phenomenon came from temples, and therefore creating a piece of work which is with style and reflects the social phenomenon nowadays in Taiwan. The frame work of this research is as follows in brief:1. Introduction: consisted by motivation and purposes, ranges and restriction, research schemes, terms definition.2. Literature Study: consisted by two parts, discussion on temple decoration paintings in Taiwan and analysis on painting creation of temple arts.3. Analysis on Creation Theory: explanation on formation and practice of creation concepts, from personal point of view on creation, the process to the chosen theme, to the analysis on the styles and skills of creation.4. Work Illustration: analysis on the graduation work, including motivation, subjects, skills and the concepts to be conveyed.5. Conclusion: acquisition and apprehension during the researching process, as well as future expectation.
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LIU, HSING-CHIH, and 劉興治. "Exerting into Painting—Liu Xingzhi's Creation of Flowing Color Paintings." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8jcv3t.
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碩士亞太創意技術學院
文化創意設計研究所
106
Researchers use the topic of “Exerting into Painting—Liu Xingzhi's Creation of Flowing Color Paintings” to hope to break through the concept of teachers and create a new style with modern art in Taiwan. Since 2004, he has created seven spirits in his paintings as a creative idea: 1. fun and direct; 2. in shape; 3. simple; 4. making existence ; 5.lingering; 6. unexpected, and 7. complete it quickly. After years of hard work, he experienced eight kinds of creative techniques of flowing color painting, including 1. Thematic background painting; 2. Landscape flowing color painting; 3. Ink and ink technique painting; 4. Creative scenery flowing color painting; 5.Fantastic free-flowing paintings; 6. To the point Creating flowing color paintings; 7. Relieving healing paintings; 8. Character-type paintings. In addition, in the process of creation of flowing color paintings, water or diluted fluids are used as medium to apply different pigment characteristics such as watercolor, oil paint, acrylic, cement paint, glaze, etc., and painted on cloth, wood, slate, or ceramic materials. Different forms of expression have been recognized and appreciated by the art world. Flowing color painting is a painting technique that emphasizes speed and movement. If we combine the art of performing music, we can also give full play to the effects of art feast. After many years of research and creation, the flowing color paintings have formed a unique style of painting. They hope to go deep into the teaching and display of schools and communities in the future, so that the flowing color paintings can be fully promoted and form a new wave of painting. Key Words: Exerting into Painting , flowing color painting, Liu Xingzhi's flowing color painting, Yuán- fǔ flowing color painting, The eight techniques of flowing color painting
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Smith, Steven Connolly. "New Paintings." 2005. http://etd.lib.montana.edu/etd/2005/smith/SmithS0505.pdf.
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Tsai, Yi-Chuan, and 蔡宜娟. "Fruit Paintings." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/2ng949.
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碩士東海大學
美術學系
101
This study is consisted of my personal creative paintings last in the duration of 2008 to 2013. The methodology applied for this study was including some creative writings and descriptive analysis in order to rethink each changes during this study. These paintings reflect, for instances, the influences and impacts of some artists, the stimulations of living experiences, my comments of readings, and so on, which facilitate the idea of using fruits as a theme to conduct this study. This study is not only present in an order of time line, but also assist with some relative literatures of art histories in each chapters. Also, it could be seen some personal elaborative expressions of experiences at the meantime. In chapter two, it presents the development of my changing stages, which could be separated into different three, the stage of Shan Hai Jing, realistic landscape, and fruit paintings. These imply the changes of my aptitude and the scale of vision in painting field. In Chapter three, this study introduces few artists whose attitude and concept inspired me and brought me some effects . In chapter four, this study proposed a concept that one may suggest to understand the issue of real me. In order to claim that I take myself preference of aesthetics as an example to analyze and explain the painting techniques applied in this study. This could be regarded as the primary passion of painting in my childhood and which help me to figure out what my true passion was. Finally, this study concluded with what my future plan will be in painting field and whish myself could accomplish it someday.
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Li, Chi-yu, and 李季育. "Mondrian Studies: "The New Plastic in Painting" and His Neoplastic Paintings." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/42989351758588759250.
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碩士國立中央大學
藝術學研究所
86
Abstract The Abstract art, which firstly appeared in the beginning of 20th century, was a new form of art expression. From the beginning of this cent- ury, there has been various styles of abstract art. By the formal elements, we could divide the abstract art into two categories: first, those with the for m simplified from objects in nature; second, those without. In this content, Klee belongs to the first and Kandinsky, the second. Also, the expression of various artists are quite different. Some abstract art styles in the early 20th century put emphasis on the spiritual content. And the works of abstract expressionism focus on the sensation brought by the medium the artists used on the work. The "Neoplasticism" of Mondrian is the abstract art with the spiritual content. There have been various studies on Mondrian. Some deal with the form of his art, while others deal with the comparison of life and creation. These studies contribute a great deal in the research of Mondrian. What is missing is that there has no such research which combines both the spiritual content and the abstract form. Therefore, we want to discuss this artist from two approaches: his writings(theory), and his paintings. By these two aproaches, we try to depicts the spiritual content. "The New Plastic in Painting" because of its thoroughness, therefore, is another focus of this research in addition to the neoplastic paintings. What we are concerned here are the exact expression of "form" and "content" in "The New Plastic in Painting" and neoplastic painting. Since, we will pay attention in both materials in three aspects: "the formal elements," "the formal relationship," and "the expression," which derived from Meyer Schapiro's description of style. By these approaches, we know the creative process of Mondrian. He made use of various art forms in the art history to express the spiritual content, which was already confirmed by himself. And generally speaking, for Mondrian, "the formal relationship" in painting is the bridge between the two ends of "formal elements" and "content." The construction of this bridge depends quite a lot on the writings of the artist. His writings are the direct expression of what he believes without the process of argumentation. Both situations show that Mondrian is very subjective in paintings and writings.
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Jung, Tsai Fu, and 蔡馥榕. "「Alternative Genre Paintings」－The Study of Tsai Fu Jung 's Painting." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/2vsy4g.
Full textAbstract:
碩士國立臺中教育大學
美術學系碩士班
102
This creation aims to probe into the works and process of serial creation from 2011 to 2014. The purpose is to combine the elements of childhood images, such as Bougainvillea, brick houses, dragonflies, cats, toys and eyes in the creation by depicting characters and sceneries in childhood. By non-logical style of Surrealism, it constructs fantasy scenes of fairy tales in illustration books and infuses scenes of fairy tales in changed sceneries of the past village life. The stories of lives are established and alternative genre paintings filled with imagination are created. As to theories, we explore the styles of genre paintings in China, Japan and the West and adopt the works in contemporary paintings which match the time, depict lives and express personal feelings. We probe into and develop the direction and expressive style of the serial creation and introduce the development and interpretation of fairy tales. Besides origin of fairy tales, we explain the reality behind fairy tales, including social and cultural identification, self-view and process of social change. By personification of fables, we suggest the meanings of the paintings and the stories of creation of fairy tales. In art history, there were various styles. With the change of time, lives go on and leave the traces. By observing people and scenes in daily lives in the creation, we attempt to develop the ideas of creativity for the practice, recall the fragmental past, follow childhood consciousness and recreate the wonderful childhood which has been passed.
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Zhang, Qi-Chang, and 張琪昌. "Expression of time in paintings - A Study of Zhang QiChang's Painting." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/kczucs.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
104
In this study, with “time” as the spindle, it discusses the complex relationship between time’s expression and ways of expression and the painting. In the meantime, the author focuses his perspective on the people around him in daily life, and reveals the psychological characteristics of people, especially the young people of this era, by demonstrating their images and complex characters in figurative realistic approach. And also by studying how other artists express “time” in their artworks and understanding their point of view, the author aims to enrich his own knowledge of art and thus figures out the direction and route of his own creation, enriches content of the work, and enhances his level of creation. As an abstract concept, "time" is widely discussed in various fields and becoming an important subject. In this study, by analyzing “time” in the art creations, the author believes that “time” means the flow of life while life reflects the existence of time. In today's era, packaged as a product, works of art breaks the layer sense of art over human’s emotions. It is then becoming important to open the package layer by layer and see the most essential things. The author hopes to figure out the psychological changes that truly exist in the young people during their teenage, by exploring the complex relationship between time and life through creation practice. In this study, the author reviews four series of works, including "Memory Series”, "Youth Group Painting Series", "Time Series" and "Quiet Time Series”, to explore time issues in artworks, and discuss about time atmosphere in paintings from views of memory, light and shadow, and life scenes. Through close combination of creation practice and expression implications, the author vividly and accurately conveys ideas of creation to readers through pictures.
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CHOU, PEI-YU, and 周旆瑜. "Explore the signs in painting of Paul Klee--in mysellf paintings." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/46411352764924776406.
Full textAbstract:
碩士臺北市立教育大學
視覺藝術研究所
94
“SIGNS” takes a great part in Paul Klee’s art creation. Klee has said that creation of signs made him feel steady in the heart and that’s why signs can always show Klee’s inner thoughts and feelings. His paintings does not reproduce the visible, it makes visible by the way of using signs. To Klee, signs are like language of arts: sign is also the foundation of Klee’s artworks. Exploring the beginning and developing of signs in Klee’s career, we can judge from three important periods in his life; visit to Tunisia, World War I and his old life. Besides, we can give examples of his works clarifying his important spiritual meanings according to the shapes and styles of signs, classifying into four groups: letters, arrow signs, drawing signs and music signs. From the creation of signs incorporated with my life experience and talking to my ego, I listened to my own voice and developed my personal characteristic language of signs. By the way of using the characteristics of acrylic media and techniques,I also created the effects of softness and concision and gave the audience a very comfortable vision.
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張祐強. "The Synthesis of Image-Mosaic Painting Style Based on Artist’s Paintings." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/81859352898265515550.
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碩士國立交通大學
多媒體工程研究所
103
Chuck Close is an American contemporary artist who is famed for his realistic paintings, through his massive-scale portraits. The objective of this thesis is to mimic one of this painting style. In the painting process, a photo is taken as the reference, then he puts a grid on the photo and also on the canvas and paints on cells of the canvas according to those of the photo. Therefore, this painting style is similar to mosaic tiles. Also, it is usually referred to as pointillism because he uses many colors in a small cell. When getting closer, it looks very colorful. But stand far enough, colors are fused through optical color mixing, and then a photorealistic painting arises consequently. However, the painting process is time-consuming. It is hard for common people to paint like that. Accordingly, we propose an approach to transfer an input image to this style automatically.
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LIU-YI-WEN and 劉怡雯. "Flower Meaning and Flower Painting—Exploring a Series of Floral Paintings." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/85392043185864361144.
Full textAbstract:
碩士大葉大學
造形藝術學系碩士在職專班
96
The research focuses on flowers and explores historic changes of floral paintings. By examining the past, the researcher expects to learn the advantages of traditional artists and then develop a realistic, detailed and symbolic style of painting. The thesis is entitled Flower Meaning and Flower Painting – Exploring a Series of Floral Paintings. “Flower meaning” examines theories of floral paintings. “Flower painting” presents and interprets the researcher’s personal creation of floral paintings, composed of three series – seasonal flowers, dialogues with flowers, and flowers in vases. First of all, the thesis introduces the motivation, purposes, scope and methods of the research. Then, the researcher explores the development of Western floral paintings and Chinese flower and bird paintings, and makes references to works of traditional artists. After that is the theoretical foundation of the research. It mainly discusses worship of nature and the realistic and detailed style of drawing plants. The researcher obtains inspiration from the symbolic meaning of nature, and provides some examples of Chinese and Western paintings to illustrate the creation style. Next, the researcher explains her own creation beliefs and ways to practice them. The 34 pieces of paintings, which fall into three series, are briefly introduced and interpreted respectively. In addition, the researcher’s prospect of future creation is presented. Key Words : flower painting
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王苾芬. "Perceivable Ink Painting, Affective Books—Exposition of Wang Pi-Fen’s Ink Paintings." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/knj3v9.
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碩士國立臺灣師範大學
美術學系在職進修碩士班
101
This study aims to present human thinking, perceive the underlying sound of humanity, retrace the understanding orginated from reality, and explore the relationship between human mind and ink paintings. By means of association with different patterns and images of books, inspiration to achieve a free artistic conception for painting is aroused. Life, the origin of creation, requires its accumulation for creation. In the pattern of books, art symbols are applied to express feelings, discover social problems and various phenomena in daily lives, and we hereby create artistic works with their characteristics. During the process, we are able to probe into every existence, stirring people's insight and reflection, so correct values are formed. Books are the greatest carriers for culture, thoughts, and knowledge. They are the laddder for civilization as well as the essence of human wisdom. It is the unique, local, and epochal thinking in artistic works that makes the creation prossess the nature of traditional and modern strokes, so the underlying process of exploration goes on in depth. It is when our aesthetic experience turns into an epitome of daily life that art will spread ,thrive, and take on its value and significance. When people are true to themselves, the artistic works can be provided with vitality. It is hoped that in this study, personal visual symbols are created and another new spiritual window is to be opened.
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Yun-shun, Chou, and 周運順. "The Paintings of the Luo River Goddess : A Study of Narrative Painting." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/27014254484069353631.
Full textAbstract:
碩士國立臺灣師範大學
美術學系在職進修碩士班
95
Glancing through text and illustrations with your attention wandering between fantasy and reality, can you escape the imaginary world? Stories with intriguing plots, particularly the romantic tales, catch the attention of many people! Therefore, in this thesis, the researcher was inspired by the “ideas” from the Luo River Goddess in Cao Zhi’s Luo Shen Fu-The Tale of the Luo River Goddess and applied the narrative approach to exploring the images and “form” in The Pre-Raphaelite Brotherhood’s painting in the mid-19th century. Hopefully, a new style of watercolor painting is created by combining the features of watercolor and the creativity in literary works. This thesis is divided into four parts: Part One: Introduction — The researcher discussed the motivation, methodology, field of study, and limitations. Part Two: Methodology — The researcher employed Narratologie and related literature to explore the painting styles between The Pre-Raphaelite Brotherhood and Ku Kai-chih’s The scroll of Luo Shen Fu. Besides, studied the female nudes and analyzed the aesthetics involved. Part Three: Creation — The researcher explained in details his ideas, content and organization, personal understanding of watercolor painting, and, most importantly, his creation process. The process included how to interpret abstract concepts in literature through concrete watercolor paintings. And his flow of thought is as follows: Luo Shen Fu → text → story line → the Luo River Goddess → sketch → images → the paintings of the Luo River Goddess. Part Four: Conclusion — The researcher reviewed and generalized the findings.
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Li, Yu, and 游力. "To discuss the Painting elements and expression forms of Western Flower Paintings." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/17395753863246437438.
Full textAbstract:
碩士中國文化大學
藝術研究所美術組
99
Chinese people from the "Book of Songs," "Songs of the South" have been able to put the flowers to lyrical meaning, "charming as peach flowers, shining the brilliance, married as an excellent housewife " “ make clothing by lotus and collect hibiscus as dressing” from simply the appreciation of the flowers then to the close relation to food and clothing needs. Many flowers in both eastern and western cultures have been given a specific meaning. In traditional Chinese culture, many flowers have been given a good character traits, such as the plum blossom symbolizes the nation's strength of character, on behalf of the literati of the virtuous chrysanthemum, peony symbolizes wealth and flowers, orchids are a gentleman with integrity representative; so plum, orchid , bamboo and chrysanthemum also known as the "four gentlemen." In Western culture, given the various flower known as the florid variety of symbolic significance, such as the red roses symbolize love, beauty and passion, poppy flower of death, condolences to Iris and Lily at the funeral as the sign of "resurrection" and the "Life." Coincidentally, Jiao-yan generous silver lotus symbol "Easter", it is also known as "Easter flowers." Sunflower on behalf of Milestone sun, a symbol of the sword arm of orchids, passionate, and charming carnations on behalf of the mother, etc. In addition, a symbol of fragrance in the world in many cultures, women spend the same symbol. Western flower paintings go back to the 16th century the academic (Academic), the classical style (Classical) realist painters many papers will be Caravaggio (Michelangelo Merisi da Caravaggio ,1571-1610), Bulezheer. Jan I (Jan Bruegel.Ι1568-1625) discussed a pity that two flower paintings are very few artists left behind, including flower paintings are the only remaining one. Second, citing nineteenth-century Impressionist (Impressionism) painter, Monet (Claude Monet 1840-1926), Monet is to play an impression of the spirit of the most thorough one. He advocated the creation outdoor sketching, study the relationship between light and shadow, Monet Garden Taigu bridge that is, the impact of Japanese Ukiyo-e. Impressionist painter Renoir warm (Pierre-Auguste Renoir1841-1919), people say, only half-finished face of a nude painting, Renoir painting would turn to roses, painted many of the roses, until the exercises from the , access to how to deal with the delicate skin, shiny modeling approach. Flower painter - Post-Impressionism (Post-Impressionism) Van Gogh (Vincent Willem van Gogh 1853-1891) is most influenced by Japanese Ukiyo-e of a Western artist. To short-term ten-year painting career, keep pace with the sages of the past is indeed difficult. Passion of the soul, in his paintings on the fully exposed. Symbolism (Symbolism) Burnaby faction (Nabis) Ludong (Odilon Redon1840-1916), although the Ludong flower paintings had never been divorced from objective reality, but it has always been the pursuit of creative imagination, and a mysterious atmosphere, and finally shaped his personal style. Female painter flower painting in modern O, Keeffe (Georgia O, Keeffe 1887-1986) exposition of O, Keeffe -painted 200 paintings during his lifetime flower to flower pin, stamen, flower buds, petal of each part is deliberately to enlarge, just like from the eyes of bee have seen the detail of the flowers. Abstract and realistic integration of the mysterious charm. The East and West Flower Painting contemplation positions and the starting point of the universe clearly different, one can fathom a specific space, from the lines and light performance, the glory of Western painting to painting a vivid throughout the Emptiness. Chinese painting color simple, no light, less than painting, is also seeking his method, so as to render ink as the most important. First, Hun Mang space boundless universe, there is a world scene with light and dark shadows without; mind, however, the characteristics of artists, all of the ink inside. East and West Flower paintings positions and the starting point for cultural traditions vary, however, people watching a flower painting, the mood is consistent, because the ornamental flower painting can be messy thoughts cleanse and restore life moving. Flower art to express spirituality, the application in medical treatment has become a significant learning; the beautiful flowers provide the express of the nature of love. Flowers, painting has become one of the important ways of psychological therapy.
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Jui-ChenTsao and 曹芮晨. "Chang, Yan-Yuan”The Famous Paintings Through the Ages” of painting esthetic view." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/21159264735559055608.
Full textAbstract:
碩士國立成功大學
中國文學系碩博士班
98
The traditional Chinese painting discusses is the Chinese tradition esthetics thought concrete reflection, not only "The Famous Paintings Through the Ages" is ancestor of the Chinese drawing general history, is also establishes the Chinese drawing theory work classics. This article plans "The Famous Paintings Through the Ages" by Chang, Yan-Yuan the drawing history viewpoint and the drawing esthetics view is a main axle, discusses Chang, Yan-Yuan " The Famous Paintings Through the Ages " the drawing art view which a book presents. The present paper is divided five chapters, its construction is: The first chapter is the research summary description, the second chapter is "The Famous Paintings Through the Ages" the drawing history viewpoint, the third chapter is “the discussion draws six methods” portrait esthetics view, the fourth chapter is “boundary and natural meeting” the landscape painting esthetics view, the fifth chapter is a conclusion. This specification content is as follows: The first chapter is an ＜exordium＞, explanation research motive and goal, research present situation and review, research technique and step, anticipated research results and limit and so on. The second chapter is ＜" The Famous Paintings Through the Ages " drawing history viewpoint＞, from the Chang, Yan-Yuan family background and in the scholarship and self-cultivation elaboration, may know that "The Famous Paintings Through the Ages" a book, the reality stays he to the family tradition and the calligraphy and painting art ideal. "The Famous Paintings Through the Ages" a book compiles the style, first after discussing, is the history, the history is discusses a part, by also from belongs to the drawing appraisal, the overall compendium structure is clear clearly, drawing history and drawing theory unified whole, not only founded the new drawing historical treatise to compile the style, we might penetrate "All previous dynasties Great picture To record", to drawing theory and Tang Dynasty drawing development elaboration, inquire deeply Chang, Yan-Yuan's drawing history viewpoint. The third chapter is ＜“the discussion draws six methods” portrait esthetics view＞, the drawing practice often is before the theory production. No matter the Tang Dynasty drawing is the theme expansion, domains and so on character, scenery, saddle horse, livestock beast, flower-and-bird painting have the considerable progress; In addition performance technique highly mature, regarding the writing technique development and the ink method production, has the very profound influence. Chang, Yan-Yuan develops highly in the Tang Dynasty drawing under the foundation, inherited and has developed Hsieh-He “six methods theory”, has made the systematic annotation regarding six methodologies, appraised by him to six methodologies concurrently friendly painters, we might understand him to the portrait esthetics view. The fourth chapter is ＜“boundary and natural meeting” landscape painting esthetics view＞, the landscape painting in the Tang Dynasty is an emerging picture branch, Chang, Yan-Yuan’s "The Famous Paintings Through the Ages" a book, not only before retaining, generation of the Zong-Bing and the Wang-Wei landscape painting theory, his further absorbed and has explained their landscape painting theory, he an article not only in detail elaborated the Tang Dynasty before the landscape painting developing process and the style progressive change, enabled us to have more understanding to the Tang Dynasty landscape painting development transformation, he unified the Tang Dynasty “the boundary” the theory, proposed the landscape painting “the boundary and the natural meeting” Esthetics viewpoint, has the profound influence regarding the descendant landscape painting theory. The fifth chapter is the ＜conclusion＞, the synthesis fore-mentioned five chapter of research results, proposed "The Famous Paintings Through the Ages" the drawing art viewpoint, is by the tone vivid relationship of form and spirit view primarily, thought the core picture discusses the view, “the boundary and the natural meeting” the landscape painting discusses the view, as well as becomes aware the natural esthetics view wonderfully and so on, presents demonstrates Chang, Yan-Yuan regarding the drawing artistic style and the esthetic characteristic viewpoint.
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WU, CHANG-MIN, and 吳嫦敏. "The Old Paintings of New Ideas - From the Pack of Ghost Paintings." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/zbqhm4.
Full textAbstract:
碩士國立臺灣藝術大學
書畫藝術學系造形藝術碩士班
101
The purpose of this thesis is to interpret the conflict between different generations by using the traditional Chinese painting techniques combined with modern and commercial products. The author used the comical ghosts to create humor in these paintings and added in the elements of real life to create the conflict between ancient and modern. The elements included technology, commercial, digital and fashion, e.g. “Cloud”. The content as follows: Charter 1: INTRODUCTION – indicating the motive, purpose, content and methods of this thesis. Charter 2: OVERVIEW OF THE PAINTINGS OF GHOSTS AND ZHONG KUI – describing the history and paintings of ghosts and Zhong Kui. Charter 3: INTERPRETATION – discussing imitation, combining various ideas and creation. Charter 4: CONCEPT OF CREATION AND PRACTICING. Charter 5: CONCLUSION – the reflection and prospects.
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Lo, Mee Ling, and 羅美玲. "Depicting Conutryside Scences of paintings - The Creaction and Study of Ink Paintings." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/ewu22w.
Full textAbstract:
碩士國立臺灣藝術大學
書畫藝術學系
105
Abstract Taiwan has spring-like weather all year round and is mostly covered by mountains; birds and animals live freely on the land; flowers are in full bloom all over the mountains and plains. The beautiful scenery has become the unique appearance of this sea island. Our ancestors have worked hard to build this beautiful home for us. Taiwan is founded on agriculture and all residents live in peace on the island. However, as time changes, civilization has gradually encroached on this fertile land and Taiwanese countryside has gradually lost its glory. The countryside scenery I saw in my childhood has increasingly changed. These changes make us depart from nature and draw us away from simple happiness. The call for a return to nature is the main focus of this study. The painting brush may not allow us to go back to the past, but it can record the beauty of countryside scenery and leave a lasting impression in the minds of viewers. That is the reason why I choose Taiwanese countryside as my research topic. Based on the theory derived from the School of Realism and the School of Scenic Poetry, this study truthfully demonstrates the appearance of Taiwanese countryside. Chapter 1 is introduction, including the research motivation and purpose, the research scope and the research method. Chapter 2 discusses the development of Taiwanese countryside and the way of life in the countryside. Chapter 3 adopts the concept of the unity of man and nature to explain the idea of harmony in the rural community. Chapter 4 explores the appearance of countryside in the artworks of Lin Yu-shan, the rustic atmosphere in the artworks of Lan Yin-ding, the countryside scenes in the artworks of Jean-Francois Millet as well as the essential characteristics of the countryside in Van Gogh's artworks. My artworks focus on natural scenes and cultural characteristics of Taiwanese countryside, which presents Taiwanese countryside scenery in the paintings and implies the spirit of the rural community outside the paintings. My paintings are divided into three series: The first is egret series, which depicts egrets roaming freely in nature. The second series is about the animals in the countryside, which conveys the atmosphere of freedom. The third series focuses on cultural attractions in the countryside to honor a life of simplicity.
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Barriault, Anne B. "Florentine paintings for spalliere." 1985. http://catalog.hathitrust.org/api/volumes/oclc/17452439.html.
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"Hannah Höch's Photomontage-Paintings." Master's thesis, 2015. http://hdl.handle.net/2286/R.I.34788.
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abstract: The German Dada artist Hannah Höch is considered one of the most significant artists of photomontage. What is less discussed is Höch’s continued use of other mediums, particularly watercolor, and how the two mediums of watercolor and photomontage are combined in many of her artworks.
Berlin Dada criticized bourgeois artistic groups and mediums. The Berlin Dadaists Richard Huelsenbeck and Raoul Hausmann called for new ways of engaging with the medium of painting, which resulted in the group’s development of photomontage. However, other Dada artists such as George Grosz, Kurt Schwitters, Francis Picabia, and Hausmann, continued to engage with the traditional medium of painting.
Höch was integral to the development of photomontage. Like her Dada contemporaries, she also experimented with painting. She developed the new hybrid medium of photomontage-painting. I argue that Höch’s photomontages are better understood as photomontage-paintings. Höch’s photomontage- paintings combine the mediums of (watercolor) painting and photomontage into a singular medium. My reexamination of these works as photomontage-paintings presents a more accurate view of Höch as a multidimensional artist.Dissertation/Thesis
Masters Thesis Art History 2015
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Lei, Yi-Ting. "Shih-Tʻao's lotus paintings." 1994. http://catalog.hathitrust.org/api/volumes/oclc/30756866.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1994.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 72-80).