Dissertations / Theses on the topic 'The sea in painting'
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Smith, Marian Brunn. "A Fugitive Sea." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1952.
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Defibaugh, Elaine R. "Did you see that chair /." Online version of thesis, 1989. http://hdl.handle.net/1850/11323.
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Barnes, John Tristan. "Painting the wine-dark sea traveling Aegean fresco artists in the Middle and late Bronze Age Eastern Mediterranean /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5762.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 22, 2008) Includes bibliographical references.
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Obrist, Johann Markus. ""What you see is painting" : Studien zum Werk von Frank Stella /." Zürich : [s.n.], 1996. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Novotná, Daria. "NEJEN MOdŘE." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232347.
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9 paintings, oil on canvas or acrylic on canvas - pictures from the sea, beach, wharf and their surroundings during the tourist season - aspects connected with the tourism at the sea - a little bit of romantic up to the border of the irony and kitch, business - processing of the water surface, their colours and shapes, real or seemingly abstract - shifting of the motif or his fragment through the form and colour reduction to the abstract line
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Browne, Deborah. "PAINTING THE SUBLIME LANDSCAPE AND LEARNING TO SEE NATURE ALONG THE WAY." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4150.
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My thesis is one artist's response to the question of the relevance of landscape painting today, focusing on the communication of the idea of environmental stewardship. The process of studying nature and transferring that vision to canvas promotes greater understanding of the beauty and complexity of elements that comprise ecosystems. The artist possesses a creative impulse finding satisfaction in making artwork that expresses a love of nature as part of a larger worldview. If done well, the persuasive power of such art may be enormous. Comprised of oil paintings and written work, this thesis establishes a way of approaching both landscape painting and the natural environment. Literature pertaining to the contributions of landscape artist Frederic Church, varying aesthetic theories, nature writings, and selected contemporary artists are discussed. The focus then turns to particular landscape elements, introducing the artwork created for the thesis. The thesis concludes with the artist's purpose statement.M.A.
Department of Liberal and Interdisciplinary Studies
Graduate Studies
Interdisciplinary Studies MA
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Wang, Su-Chin. "See through the dark : reincarnation /." Online version of thesis, 1996. http://hdl.handle.net/1850/11903.
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Edwards, Jamie Lee. "Netherlandish vernacular narrative painting in the age of Bruegel : 'entangling the eyes' & 'enlightening the mind'." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7703/.
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This thesis sheds new light on the origins and significance of ‘compositional inversion’ in sixteenth-century Netherlandish art. Taking Pieter Bruegel’s inverted religious narratives as primary examples of a wider phenomenon, it seeks to account for the seemingly paradoxical method of narrative obfuscation evident in these works. It does so by situating them in art theoretical, iconographic, social, political and spiritual contexts. Chapter 1 turns to the art theories of Karel van Mander, contained in the first book of Het Schilder-Boeck (1604): ‘Den Grondt … ’. Here I suggest that Bruegel’s inverted compositions exemplify an entire tradition in Netherlandish history painting – the ‘historien’ – that van Mander retroactively theorised in ‘Den Grondt’. According to his theoretical position, Netherlandish inverted ‘historien’ derive their efficacy precisely because they obscure narrative, for by doing so they ‘entangle’ the beholder’s ‘insatiable eyes’ and so encourage sustained interest in the story. Chapter 2 then examines the visual tradition in Netherlandish art that inspired Bruegel’s inverted narratives, and concludes that these works possess a distinctive formal ‘Netherlandishness’ and as such they offer fertile territory for examining Bruegel’s “vernacularity”. Finally, in Chapter 3, I argue that compositional inversion evolved as a visual counterpart to contemporary biblical exegeses, specifically Erasmus’s.
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Lee, Eunji (Jubee). "After the big wind stops I see gentle waves." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5367.
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This thesis covers my reflections on the inspirations and the motivations behind selected works including my candidacy exhibition; Resonance and my thesis exhibition; after the big wind stops I see gentle waves. It contains my life throughout my MFA studies and the development of my art practice. Through its story-within-a-story method of narration and my describing streams of my thoughts, I am attempting to explain the processes of my development and the discoveries I have made, the little things in my daily life, and the big turning points that inspired me. My work and this document have been strongly determined by my poetic imagination and the emotional events and experiences I have had.
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Von, Brasch Marius. "'Distance, however near it may be' : revisiting 'aura' on the axis between painting and digital technology within a Deleuzian framework of 'becoming'." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/346350/.
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This practice-based research sets out to explore new ways of visualizing and conceptualizing the notion of aura in art. It departs from Walter Benjamin’s widely known critique of aura, the thesis of which is that aura as ‘uniqueness’ of an artwork decays with the rise of technological reproducibility. Benjamin affirms with the decay of aura also the loss of the transposition of religious projections of distance onto fascist politics. His thesis had a major influence on contemporary critical theory where aura is still approached with great reservations. These concern a relapse into religious structures, which mirror, so the thesis argues, the fact that aura has been, also in Benjamin’s ambivalent conceptualization, left ‘territorialized’ in a regime of transcendence in art. The main research question has been: What could aura mean for painting in the expanded field, especially in relation to digital imaging? The outcomes of this research are paintings, works on paper (both involving the input of digital sources), digital films and writings. The thesis develops a reading and visual ‘mapping’ of aura in the framework of Gilles Deleuze’s (and Félix Guattari’s) ontology of immanence where difference and its repetition as differentiation replaces the static metaphysics of ‘origin’ or ‘essence’. Splendor Solis, a series of book illuminations from the Northern Renaissance proved to become a major visual source for experimentation. Aura is introduced in this alchemical work as the ‘splendour’ of Becoming, the deframing power of the differential processes that accompany individuation. As a sensation experienced in intuitive art practice, aura affects and is affected by a field of interacting multiplicities and the potentiality of temporal differentiations, which reach beyond any ascertained subjectivity into virtual collective questions and problems. Aura suggests as an ‘echo’ of Becoming an involvement with affects, and the research follows strands between qualitative intense moments that activate a ‘wound’ and extend to what Deleuze calls a ‘wound that existed before me’, an experience related to the synthesis of future, which confronts an individual with its emerging double. Constructing, or ‘mapping’ aura as visuals on an axis that involves media of ‘uniqueness’ and digital technology gives those outcomes an ontological status of ‘simulacra’ or assemblages, far from the traditional associations aura would evoke. Touching both experience and experiment, so the thesis argues, aura in immanence can provide an access to the virtualities of the ‘new’ in art practice. The research introduces a visual scenario or ‘conceptual persona’ for intuition, which as method of this research folds both practice and writing. Friedrich Hölderlin’s unfinished play Empedocles at Etna, provides a metaphor or metamorphosis encompassing aura’s and intuition’s involvement with immediacy and duration. The practice documentation of the thesis reflects the strands of the research as plurality of its differentiations, allowing the dynamics of its method in action to reflect the dynamics of aura.
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Stent, Sabina Daniela. "Women Surrealists : sexuality, fetish, femininity and female Surrealism." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3718/.
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The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.
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Hussain, Muayad H. "Modern art from Kuwait : Khalifa Qattan and Circulism." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3909/.
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This thesis explores the life and work of the Kuwaiti artist Khalifa Qattan (1934-2003). The first chapter views Qattan in the context of twentieth-century visual culture in Kuwait. It also shows the European influence on his work, as he lived and studied in Britain in the 1950s. A second chapter is dedicated to Qattan's aesthetic theory called Circulism; it shows that it is a philosophy and a style, and situates Circulism between western and Arabic sources. The third chapter deals with the Gulf War of 1991 as a particular topic in Qattan's work, and compares his work about the war with the work of John Keane, the British artist who was commissioned by the Imperial War Museum as an official recorder to cover that war. Considering western and Arabic writings on the war, this chapter argues that different visual interpretations of the war are rooted in an 'insider' and 'outsider' experience. A conclusion discusses the general problems involved when viewing non-western visual cultures with western eyes. An appendix, a bibliography and a list of illustrations followed by 61 illustrations conclude the thesis.
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MacCulloch, Laura. "Ford Madox Brown : works on paper and archive material at Birmingham Museums and Art Gallery." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/611/.
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This collaborative thesis focuses on the extensive collection of works on paper and related objects by Ford Madox Brown (1821-1893) held at Birmingham Museums and Art Gallery (BMAG). It is the first academic study to use Brown's works on paper as the basis for discussion. In doing so it seeks to throw light on neglected areas of his work and to highlight the potential of prints and drawings as subjects for scholarly research. The thesis comprises a complete catalogue of the works on paper by Brown held at BMAG and three discursive chapters exploring the strengths of the collection. Chapter one focuses on the significant number of literary and religious works Brown made in Paris between 1841 and 1844 and examines his position in the cross-cultural dialogues taking place in Europe in the mid-nineteenth century. Chapter two uses the dual definition of the word 'construction' to examine how his interpretation of history was affected by contemporary changes in historiography, and to discuss his practical approach to composing a history painting. Chapter 3 studies illustrations he made for publication. Progressing chronologically, it explores his changing attitude towards illustration as a medium and argues that these works had increasing importance for his artistic career. The catalogue is the most up-to-date and informative inventory of the collection and includes new identifications, titles and dates and exegeses.
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Irvine, Victoria. "The development of the use of models in Scottish art, c.1800-1900, with special reference to painting and the Trustees' Academy, Edinburgh." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6179/.
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This thesis suggests that a range of major and some minor Scottish nineteenth-century artists’ approaches to figurative art, c.1800-1900, were informed by, and in some cases decisively influenced by, the prevalence of naturalism as fostered by the Trustees’ Academy, Edinburgh. The Trustees’ Academy was selected as a case study for this thesis due to its prominent position in art education as a leading Scottish institution, particularly for the first half of the nineteenth century. Despite scholars noting the far-reaching influence of certain nineteenth-century Scottish artists, such as David Wilkie, discussions of Scottish figurative painting predominantly focus on the personal development of artists’ oeuvres or artists, and grouped generally by style or chronology. Moreover, there is no dedicated published study on the nineteenth-century history of the Trustees’ Academy and its pedagogical methods; similarly, the discussions of Scottish naturalism have formed part of larger contributions related to specific artists and movements. This thesis presents new research from unpublished archive papers related to the Trustees’ Academy in the National Archives of Scotland, and it adopts a contextual and comparative approach by exploring the history of the TA and its pedagogical approaches in relation to wider trends in Scottish art and as relevant in England and abroad. Following discussions established by Duncan Macmillan and John Morrison, it suggests that naturalism developed in Scottish figurative painting as a conceptual motif and as a stylistic tool. The conceptual strand was rooted in poetry, which explored both the ‘Celtic’ and ‘pastoral’, with each being evocative of a romanticised, ‘natural’ way of life. This thesis proposes that naturalism, as a style, was more fully developed in the nineteenth century, in part developed by artists’ pursuit of personal depictions of Scotland’s land and people. Naturalism, as posited by this thesis, was part of Scotland’s wider search, post-Union, for its national identity within its ‘union-nationalist’ framework. By elucidating this new approach in Scottish artists’ depictions of the figure, this study aims to enhance our understanding of Scottish nineteenth-century systems of art education and approaches by artists to the model, and to contribute to research on Scottish national identity in nineteenth-century painting.
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Westerhausen, Simone. "Ulrich Hübner - Stadt, Land, See." Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://dx.doi.org/10.18452/22594.
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In der vorliegenden Arbeit wird die Bedeutung der Landschafts- und Marinemalerei für die nationale Einheit und bürgerliche Identifikation im Kaiserreich und in der Weimarer Republik beispielhaft am Werk des Berliner Secessionskünstlers Ulrich Hübner (1872-1932) untersucht. Zu Beginn wird die Rolle der Landschaft für die Konstitution von Staatswesen und nationaler Identität allgemein erläutert, um deutlich zu machen, vor welchem Hintergrund die Landschaftsmalerei Ulrich Hübners einen Beitrag zur bürgerlich-nationalen Identitätsfindung im (neugegründeten) Nationalstaat leisten konnte. Im Hauptteil werden dazu anhand Hübners biographischer Stationen unterschiedliche Gesichtspunkte, wie die pluralistischen Einflüsse auf Hübners Landschaftsmalerei, seine Rolle in der Berliner Secession, seine Positionierung auf dem Kunstmarkt, seine Rezeption durch die Kunstkritik und seine Funktion an der Akademie der Künste, untersucht.
Hübners Konzentration auf Küstendarstellungen, Seestücke und Stadtansichten führte in Abgrenzung zur Marinemalerei zu dem neuen Typus der Stadt- und Wasserlandschaft, zwischen klassischer Veduten- und Landschaftsmalerei und impressionistischen Stimmungsbildern. Auf Grundlage des erstellten Werkverzeichnisses wird durch die Betrachtung Hübners Werks im Gesamtzusammenhang des Berliner Kunstgeschehens unter dem Aspekt des wirtschaftlichen und gesellschaftlichen Erfolges und der Entwicklung des privatwirtschaftlichen Kunstmarktes deutlich, wie ein Künstler in diesem System agierte. Hübners Erfolg mit dem neuen Typus der Stadtlandschaft und der Konzentration auf bestimmte Vertriebswege und erfolgreiche Motive steht exemplarisch für den deutschen Impressionismus in Zeiten des Stilpluralismus. Als Vertreter einer moderaten Moderne wurden seine Gemälde heimatlicher Landschaften Identifikationsbilder des aufgeschlossenen Bürgertums und somit eine Versicherung von Kontinuität in den politisch bewegten Zeiten vom Kaiserreich bis zum Ende der Weimarer Republik.This doctoral thesis examines the significance of landscape and maritime painting for the national unity and civil identification in Imperial Germany and the Weimar Republic through the case study of the oeuvre of the Berlin Secession artist Ulrich Hübner (1872-1932). In the first instance, we will outline the effect that landscape painting in general had on the constitution of the political system and national identity in order to assess the extent of which Hübner’s landscape painting contributed towards the shaping of a civil-national identity in the newly founded nation state. To this effect we will then study key events in his biography, focusing on the following aspects: the pluralist influences that shape Hübner’s landscape painting, his role in the Berlin Secession, his place in the art market, art criticism’s response to his work and his position at the Berlin Academy of Arts. Hübner’s focus on coastal views, sea- and cityscapes, as opposed to maritime painting, lead to the new type of Urban Landscape and Waterscape which is situated between classical Veduta and landscape painting on one hand and impressionist “Stimmungsbilder” on the other. The catalogue raisonné will form the basis on which we examine his oeuvre in the context of the greater Berlin art scene with particular emphasis on his commercial and social success on one hand as well as seen within the more specific framework which is the development of the commercial art market on the other. The success Hübner had with his new type of Urban Landscape and his focus on specific commercial channels and successful subject matters is exemplary for the German Impressionism in times of stylistic pluralism. Representing a moderate Modernism, his paintings of “Heimat”-landscapes became symbols that the liberal bourgeoisie could identify with and thereby a guarantee of continuity during the politically agitated times from the beginning of the German Empire to the end of the Weimar Republic.
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Dahlem, Andreas M. "The Wittelsbach Court in Munich : history and authority in the visual arts (1460-1508)." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/892/.
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The culture at the ducal court of Sigmund and Albrecht IV of Bavaria-Munich was characterised by a coexistence of traditional as well as novel concepts and interests, which were expressed in the dukes’ artistic, architectural and literary patronage. Apart from examining the orthodox means of aristocratic self-aggrandizement like jousting, clothes, decorative arts and precious, exotic objects, this thesis discusses ‘innovative’ tendencies like the forward-looking application of retrospective motifs, historicising styles as well as the dukes’ genealogy, the ducal government’s imprint on the territory and the aesthetic qualities of the landscape. The study of a selection of buildings and works of art with the methodologies of the stylistic analysis, iconology and social history emphasises the conceptual relations between the ducal court’s various cultural products, which were conceived as ensembles and complemented each other. The elucidation of their meanings to contemporaries and the patrons’ intentions is substantiated with statements in contemporary written sources like travel reports, chronicles and the ducal court’s literary commissions. The principal chapters explore three thematic strands that are idiosyncratic for the culture at the court of Sigmund and Albrecht IV between 1460 and 1508, because they were consistently realised in several buildings and works of art. The first chapter provides an overview of the history of Munich, the Duchy of Bavaria and the Wittelsbach dynasty. The second chapter explores the princely self-conception at the threshold of the Late Middle Ages and the Early Modern Era by considering the application of clothes, decorative arts, knightly skills, exotic animals, and monuments of the patrons’ erudition as means of social communication and differentiation. The third chapter considers the dukes’ awareness as well as ‘manipulation’ of their genealogy and history as a forward-looking means for legitimating and realising their political objectives. It also examines the symbolism and origins of historicising motifs in art and architecture like the Church of Our Lady’s bulbous domes that acted as markers of the ducal sepulchre. The fourth chapter scrutinizes the impact of the dukes’ government and artistic as well as architectural patronage on their territory. It also considers emergence of poly-focal panoramic views from the interiors of castle and palaces into the surrounding countryside by examining the origins of this phenomenon and the perception of the landscape’s aesthetic qualities.
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Grew, Rachael. "The evolution of the alchemical androgyne in symbolist and surrealist art." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/1858/.
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The relationship between Symbolism and Surrealism is well known yet scarcely documented in detail. This thesis aims to address this oversight by exploring the connections between these two movements, specifically through investigating their shared motif of the androgyne. The androgyne embodies the professed aim of each of these groups: the transcendence of the physical in favour of the ephemeral for the Symbolists, and the unification of opposites for the Surrealists. Equally, both movements have an interest in the occult, and the androgyne is a key image within the occult tradition symbolising spiritual unity, dovetailing with the Symbolists’ and the Surrealists’ goals. The androgyne will be analysed firstly within the context of alchemy, surveying the way in which it is portrayed in primary sources, and how this has changed in Symbolist and Surrealist art. It will also be analysed in the contexts of psychoanalysis and gender identity, observing how male and female artists portray the androgyne differently and why. The aim of this thesis is therefore two-fold: firstly, a comparative study of the iconography employed by these connected movements, to original alchemical sources, and also between the male and female artists of these movements. Secondly, it aims to create a more secure basis for the notion of alchemical influence on Symbolism and Surrealism.
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Ireson, Lucinda. "Cracked mirrors and petrifying vision : negotiating femininity as spectacle within the Victorian cultural sphere." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/4796/.
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Taking as it basis the longstanding alignment of men with an active, eroticised gaze and women with visual spectacle within Western culture, this thesis demonstrates the prevalence of this model during the Victorian era, adopting an interdisciplinary approach so as to convey the varied means by which the gendering of vision was propagated and encouraged. Chapter One provides an overview of gender and visual politics in the Victorian age, subsequently analysing a selection of texts that highlight this gendered dichotomy of vision. Chapter Two focuses on the theoretical and developmental underpinnings of this dichotomy, drawing upon both Freudian and object relations theory. Chapters Three and Four centre on women’s poetic responses to this imbalance, beginning by discussing texts that convey awareness and discontent before moving on to examine more complex portrayals of psychological trauma. Chapter Five unites these interdisciplinary threads to explore women’s attempts to break away from their status as objects of vision, referring to poetic and artistic texts as well as women’s real life experiences. The thesis concludes that, though women were not wholly oppressed, they were subject to significant strictures; principally, the enduring, pervasive presence of an objectifying mode of vision aligned with the male.
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Routenberg, Scott Kevin. "Americana Suite: A Composition for Full Orchestra, Big Band, and Jazz Chamber Ensembles Inspired by American Master Paintings." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/80.
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Americana Suite is a seven movement musical composition inspired by nineteenth and early twentieth century American master paintings. Representative artists from each of the major schools of American painting include Frederic Church, Winslow Homer, Mary Cassatt, Childe Hassam, George Bellows, Edward Hopper and Georgia O'Keeffe. Essentially pluralist in style, the suite is written for ensembles of varying size and genre, spanning from full orchestra and contemporary big band to intimate jazz chamber ensembles and electro-acoustic hybrids. Four of the seven movements are written for jazz ensembles and incorporate improvisation, while the other three orchestral movements explore romantic, impressionist and cinematic idioms. Historical summaries of each school, artist and painting are followed by detailed aesthetic and theoretical analyses of the respective movements. Harmonica virtuoso Howard Levy performs as a special guest artist.
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Bagdzevičienė, Jurga. "Investigation and Description of Ancient Pigments in Paintings and Archaeological Glass Finds." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120629_152636-81665.
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In this dissertation, the results of detailed investigation of the seven unique art objects are presented. The presented results show that complex apllying of the instrumental analytical methods of OM, FTIR, SEM/EDX, XRD, μXRD and µRS is accurate and efficient way to identify composition of works of art and archaeological finds of glass, pigments or describe their technology. IR spectroscopy has been successfully applied to determine pigments and some pigment mixtures in painting‘s ground, paint layers, and destruction products in archaeological glass. The SEM/EDX analysis successfully can be used in determining the main elements of the paint samples at different cross-section points perform a qualitative analysis of the pigments (cinnabar, lead white, chalk, smalt et. al. ), in some cases, to discuss the features of the production of pigments. The SEM/EDX provided a possibility to examine three archaeological glass beads. According to the elemental composition, microstructure, and the specific features in different areas of the glass was defined nature of the destruction of glass. XRD and μXRD analysis successfully can be used in determining the crystalline phases in the paint and archaeological glass samples. Identify following pigments and their mixtures: calcite CaCO3, carbon, lead tin yellow type I Pb2SnO4, lead tin yellow type II PbSn03, hydrocerussite 2PbCO3 ∙ Pb (OH)2, cerussite PbCO3, Egyptian blue CaCuSi4O10, gypsum CaSO4 ∙ 2H2O, anhydrite CaSO4, huntite Mg3Ca(CO3)4... [to full text]Septynių unikalių, didelę istorinę ir meninę vertę turinčių objektų – trijų XVII ir XVIII a. paveikslų, Senovės Egipto sarkofago bei trijų archeologinių stiklo karolių iš Kernavės-Kriveikiškių kapinyno – tyrimams sėkmingai pritaikyti OM, FTIR, SEM/EDX, XRD, μXRD ir µRS analizės metodai. Konstatuota, kad taikant kompleksinius tyrimus galima tiksliai ir efektyviai identifikuoti kūrinių medžiagas, charakterizuoti jų sandarą, apibūdinti technologijas. IR spektroskopija sėkmingai panaudota identifikuojant tapybos grunto ir dažų sluoksnių neorganinius tapybos pigmentus ir jų mišinius bei stiklo korozijos produktus. Parodyta, kad IR spektroskopija gali būti sėkmingai panaudota identifikuojant istorines restauravimo medžiagas. SEM/EDX analizės metodu nustatyta tapybos elementinė sudėtis, identifikuoti cinoberio, švino baltojo, kreidos, smaltos, suriko ir kt. pigmentai. SEM/EDX analizės metodu ištirti trys archeologiniai stiklo karoliai. Pagal elementinės sudėties skirtumus ir specifinius mikrostruktūros bruožus nustatytas stiklo destrukcijos pobūdis. XRD ir μXRD analizės metodais sėkmingai identifikuoti šie pigmentai ir/ar jų mišiniai: kalcitas CaCO3, anglis, I tipo Pb–Sn geltonasis Pb2SnO4, II tipo Pb–Sn geltonasis PbSn03, hidrocerusitas 2PbCO3∙Pb(OH)2, cerusitas PbCO3, Egipto mėlynasis CaCuSi4O10, gipsas CaSO4∙2H2O, anhidritas CaSO4, huntitas Mg3Ca(CO3)4, dolomitas CaMg(CO3)2. Pirmą kartą μRS metodu identifikuotas II tipo švino alavo geltonasis pigmentas, archeologiniam stiklui... [toliau žr. visą tekstą]
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Domin, Jacqueline. "Painting perceptions /." Online version of thesis, 1990. http://hdl.handle.net/1850/10902.
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Clucas, Graham. "Painting silence." Thesis, University of Plymouth, 2002. http://hdl.handle.net/10026.1/1102.
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This research examines the history and theory of silent painting to discover why particular paintings were called silent, what the term was meant to signify, and how the quality of silence was discernible in the paintings it described. The imderstanding thus gauied is in tum the subject of further analysis through (documented) reflective practice, which recognises a broader context of contemporary theoretical and practical viewpoints. The purpose is to investigate, through practice, the characteristics and potentialities of silence. From the emergence of'silent' painting in America during the 1950s and 60s, the idea of silence is examined in terms of its associations with Abstract Expressionism and Minimalism. An initial assiunption that 'silent painting' is simply another way of referring to monotonal painting is at first expanded to accommodate theories promoting the grid as an equally effective device for achieving silence, but then challenged. Questions arise concemmg intention and the lack of it, degrees of silence, the nature of silence, the different ways in which silence can be read, the impossibility of silence, the feeling of silence, and the quality of silence aimed at in my own practice. An overall concem of the research is the integration of theory and practice. The thesis presented here provides an historical and theoretical explication, guided and shaped by questions arising from practice. It includes a critique of the work produced. The scientifically demonstrated argument that silence is impossible is countered by one foimded on feeling. It is on the basis of feeling (not expression) that, in the later stages of the research, suitable strategies are devised for painting silence.
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Wilson, Gina Strecker. "Narrative Painting." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4527.
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Dupuis, Matthew Morris. "Charles Lebrun, painting the King and the King of painting." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0016/MQ29489.pdf.
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Ng, Yuk-lan. "Mid-Muromachi flower and bird painting in Ashikaga painting circles /." View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38030962.
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Dupuis, Matthew. "Charles Lebrun : painting the king and the king of painting." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26684.
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This thesis examines the transformation in the representation of painters during Charles LeBrun's tenure as Life-Chancellor to the Academie Royale de Peinture et de Sculpture, from an initial definition in terms of the monarchy at Versailles to one founded on the practice of the art of painting. To promote the status of painters and painting, Louis XIV was celebrated as the protector of the arts in a royal portrait by Henri Testelin and was depicted as the ideal subject of art in paintings by Nicolas Loir and others. A painter's stature was then derived from the skillful manner in which he painted the history of the King. Engraved portraits accompanied by verse of Charles LeBrun and Adam Frans Van der Meulen identify allegorical painters as more distinguished than those who painted in a natural style. In both cases, Louis XIV is posited as being the source, subject, and eloquence of the art celebrating his achievements. Nicolas de Largillierre's Portrait of Charles Lebrun is modeled on Testelin's royal portrait and offers a portrayal of the artist which advocates service to the monarchy, but it grounds aesthetic activity in the body of the painter. This conception of LeBrun, in turn, serves as a paradigm for Pierre Mignard to create a self-portrait that proclaims his status in relation to the art of painting rather than through service to the King.
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Ng, Yuk-lan, and 吳玉蘭. "Mid-Muromachi flower and bird painting in Ashikaga painting circles." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B45015624.
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Samrelius, Gustav. "Painting is fun." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-69.
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Moffett, Jessica. "Painting the impulse." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/moffett/MoffettJ0505.pdf.
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My primary focus in my paintings is the male figure. These paintings have evolved in a non linear progression. I went from representational to partly abstract and back to representational infused with sequential art. During this development, I decided to paint my figures to resemble comic book characters of my own creation and paint them to represent emotional qualities of spontaneity and dualities of my psyche.
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Walsh, Kerry. "Potions and painting." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040701.155706/index.html.
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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfillment of the requirements for the degree of Master of Arts (Honours) Creative Arts, December 2003" Includes bibliography.
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Daw, Micah Daniel. "Painting the Liminal." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276667967.
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Ambron, Michael. "Painting as Becoming." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343739050.
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Yaeger, Matthew. "Hands On Painting." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3823.
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How can we know something through how it is sensed? Making anthropomorphic, three-dimensional paintings through a set of basic, at-hand materials, I’m interested in how empathy, modesty, and doubt can mediate a tangible experience of an object. Challenging notions of perception, I want to create a heightened sense of awareness in which the intangible can be seen or felt.
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Frost, Lola Audrey. "Negativity in painting." Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497498.
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Joy, Clair. "Contemporary landscape painting." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523650.
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This thesis will look at the concept of contemporary landscape painting as well as examples of artists whose work could be described as landscape painting in a contemporary context. I will be using different models (both theoretical and artistic) from those associated with the history of landscape painting to look at what contemporary landscape painting might now be. My purpose is twofold: to argue that the concept of landscape has been redefined and as a result landscape painting has new ways of being thought about, and to establish a context for my own practice. I look at the idea of space-time to investigate how it defines place and as a result redefines landscape painting in a contemporary context. As a way of doing this I look at montage and at maps/mapping, both as ideas and as ways of working. Differing approaches and mediums as 'producing' spaces, rather than an emphasis on depicted visual characteristics (of buildings or the rural for instance), is also discussed as a concept that relates to contemporary landscape painting. Paintings can have a diverse materiality that may embody and refer to our experience of place. Paintings may also engage the 'discursive site' of landscape, reflecting the questions and issues related to shifting conceptual understandings of 'landscape' . I look at the work of three established artists that may be seen as establishing new contexts in which to see contemporary landscape paintings. These artists are Robert Smithson, Alighiero Boetti and Eugenio Dittborn. Examples of artists who connect with concepts of space-time as unexpected and unpredictable, or use the co-existence of different 'spaces' in their methods of making and in their subject matter, are described as contemporary landscape painters. I have selected the artists Julie Mehretu, Sarah Morris, Angela de la Cruz, Neil Jenney, Nigel Cooke and Keith Tyson.
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Henry, Anne L. "Animated electronic painting /." Online version of thesis, 1992. http://hdl.handle.net/1850/12240.
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Clancy, Majella. "Painting, gender and space : an examination of contemporary women's painting practice." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695399.
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This thesis explores aspects of contemporary women's painting practice. It investigates cultural, geographical, social and pictorial space across representations of class, gender and race. It begins with an examination of modernist histories through the language of paint. Modernist codes of sexual and cultural difference are interrogated and disrupted allowing for alternative readings of gender, culture, race and painting practices. I examine concepts of space and time found in modernist and postmodemist theory. I propose strategies in paint that collapse boundaries and categorisations, creating a space in-between canonical meaning and definitions allowing for oscillating feminine positions and perspectives. This research focuses on two women painters as case studies - the African-American painter Ellen Gallagher and the Pakistani-born, American-based painter Shahzia Sikander. Selected works from their practice are analysed alongside my own painting practice where links are established and variances highlighted, thus reflecting a contemporary understanding of women's painting in a global context. Significantly my thesis proposes feminist strategies in painting whereby cross-cultural exchange and multiple visual strategies are employed to signify new terms and conditions for contemporary women's painting. I examine hybridity and its relationship to feminine painted space where the complexities of cultural identity are interrogated. I conclude by analysing the position of contemporary women's painting within the framework of the global exhibition. This research uses a feminist methodology and works across art practice, art theory and art history. It creates a space from which contemporary women's painting can be understood as a materially and theoretically expanded practice.
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Branham, Barbara Leedy. "Some visual issues of painting : an exploration of the painting process." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3856.
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McAra, Catriona Fay. "'Some parallels in words and pictures' : Dorothea Tanning and visual intertextuality." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3722/.
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In 1989 the American Surrealist associated painter, sculptor, and writer Dorothea Tanning (1910-2012) suggested an intermedial dimension to her multifaceted œuvre in her essay ‘Some Parallels in Word and Pictures.’ Taking this essay as a critical point of departure, this thesis offers an intertextual theorisation of Tanning’s practice. It concerns the role of narrative in her work, and the way in which she borrows from the histories of art and literature as source materials. The thesis presented here is that Tanning’s work from the context of Surrealism and beyond makes reference to the fairy tales and other, more extensive works of literature which she read in her youth whilst at work in her public library in Galesburg, Illinois, whether implicitly in visual references or explicitly in her works’ titles. Throughout, the library is read as a key source of inspiration. This is true too of the impact which Tanning’s belated visit to the Louvre had on her post-Surrealist stylistic development. Broadly, this thesis aims to rethink the methodologies used to interpret Surrealism, and reunite the literary and visual aspects upon which the Surrealist movement was initially founded. This interdisciplinary approach contributes fresh perspectives by marrying the history of Surrealism with that of the fairy tale, including that of Lewis Carroll, Hans Christian Andersen, and the fairy tale illustrations of Gustave Doré, Maxfield Parrish, Arthur Rackham, and John Tenniel. The anti-fairy tale emerges as useful critical tool in defining the intertext which appears when Surrealism and the fairy tale are paired. The ‘demythologising’ project of Angela Carter is useful to call upon in the articulation of the anti-fairy tale, and her work is easily placed in dialogue with that of Tanning, especially in terms of its feminist leanings. The dialogic, intertextual theories of Mikhail Bakhtin, further developed by Julia Kristeva and Roland Barthes, support this reading of Tanning’s visual narratives. More recently such theories of intertextuality have manifested themselves in the work of Dutch narratologist Mieke Bal who proposes a model of ‘preposterous history’ in order to creatively re-read the relationship between source (or pre-text) and intertext. This research is primarily text-based and devotes long-awaited attention to Tanning’s literary works which are read visually, including her short story ‘Blind Date’ (1943), and her novel 'Abyss' (1977), later reworked and republished as 'Chasm: A Weekend' (2004). I argue that her novel provides textual continuity with her Surrealist visual narratives of the 1940s creating a more cyclical, ‘preposterous’ shape to her career than has previously been acknowledged.
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Damer, Mouminat. "From Syrian Sea to Shining Sea." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10751850.
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From Syrian Sea to Shining Sea is a collection of poetry that reflects the lives of Arab-Americans. Whether they may be first generation, Muslim, or immigrants, there is a piece within their self that reflects a longing for the homeland, ties to the motherland, and struggles that arose as a result of the Syrian Civil War. As a first-generation, Arab-American, Muslim woman I wrote these poems through the raw lens that is my experience.
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Abdullah, Hannah. "New German painting : painting, nostalgia & cultural identity in post-unification Germany." Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/617/.
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During the past decade one of the bestsellers in the American art market was a group of figurative-representational paintings from post-Unification Germany. Dubbed “New German Painting”, this body of work included artists with explicit East German affiliations, such as the so-called “New Leipzig School”, as well as artists who trained at academies in former West Germany. While the American art critical discourse predominantly promoted the art as a new kind of German history painting, which confronted the country’s recent past of division and reunification, the reception amongst German art critics was more negative by far. The latter did not see a serious engagement with recent German history in the new body of art, and dismissed the painting as catering to a growing post-socialist nostalgia industry. Moreover, the traditional figurative style of painting, which was adopted in particular by artists trained at academies in post-Wende East Germany, was often criticized as an aesthetically and politically reactionary artistic position. In spite of the obvious social and political connotations of the art critical discourse on the “New German Painting”, art historical scholarship has barely examined this new body of art in light of underlying interactions between the painting’s aesthetic content and the social-political context of post-Unification Germany. This is a surprising omission, considering that scholars of modern German art are traditionally deeply concerned with the interplay between aesthetic and political continuities and discontinuities. A possible explanation for this gap in the literature is that art history lacks a framework to capture the intersecting aesthetic and social-political notions that have emerged in the discourse on the painting. This thesis aims to overcome this shortcoming by examining the phenomenon “New German Painting” from an interdisciplinary perspective that combines sociological with art historical approaches. The theoretical perspective builds on innovations in the sociology of art, which complement established concerns with social structure with a sensibility for aesthetic specificity. In the empirical parts of the thesis this perspective is used to trace continuities between the new painting and its reception with earlier moments in German post-World War II art history; as well as to examine the social context and historical moment in which the painting emerged. Particular attention is paid to affinities between the discussion of the “New German Painting” and current crossdisciplinary academic literature on nostalgia in post-Wende Germany. Overall, the thesis argues that this more encompassing approach is better suited for revealing how the phenomenon “New German Painting” sits at the centre of debates about collective memory and cultural identity in post-1989 Germany, including the complex relations between the former East and West that characterise these debates.
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Boutote, Mary L. "A question of borders /." Online version of thesis, 1992. http://hdl.handle.net/1850/11147.
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Ratcliff, Jeremy Richard. "An apology of painting." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3618.
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Thesis (M.F.A.) -- University of Maryland, College Park, 2006.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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Fragoulis, Anastasia. "Painting circles, a novel." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq39043.pdf.
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Chu, Siu-Hang. "Making digital painting organic /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?CSED%202007%20CHU.
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Armstrong, John Anthony. "The appreciation of painting." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309058.
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Tucker, Judith Ann. "Painting landscape : mediating dislocation." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425628.
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Topsfield, Andrew. "Rajput painting in Mewar." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361864.
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Shu-Man, Wang, and 王淑滿. "Mountain and Sea Logical Planning-Natural Form and Painting Space." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/41280444287861886380.
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碩士中國文化大學
藝術研究所
88
<
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Teng, Tan Teng, and 陳廷婷. "Sea in Black – The Research on Contemporary Creation of Ink Painting." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/p424de.
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碩士國立臺灣藝術大學
書畫藝術學系
105
“Sea in black” is a research on contemporary creation of ink painting out of the concern for the marine ecology. Human has been speeding in the exploitation of the Earth’s resources, without control, for his pursue of the better standard in material life. However it causes many issues on the pollution, the environment and the ecology, which ironically damages his survival. The writer is a nature-lover, as well as an ocean-lover, which make her very worried for the environmental problems faced by the marine ecology. Besides, as a person who was brought up in Malaysia with Eastern and Western culture coexisting, the writer has strong feeling towards this amazing cultural combination and sparks. As an ink-artist, the writer will like to express the cultural conflict between the Eastern and Western values for their interpretation of “black”. With the choice of purely ink painting, she will personate her painting subject matters, and hence highlights the conflict in Human survival. The writer has strong expectation in her public role exhibiting the artworks, more or less with the use of the language of Art, provides one of the possibilities for the viewers or the public to take note of the marine ecology issues, which hence bring us back to our conscience and responsibility to protect our environment. Through the process of the research, the writer realizes that black and white is oppositely related. The co-existence of black and white outlines the composition of a painting. The East and the West define “black” in a fantastic contrast. In this research the writer gets more knowledge in the usage and proportion of black and white in a painting. With the creation of three series of artworks namely: “Submerged Cries”, “Survivors” and “The Bank of Marine Life”, the writer gets to play her part to care for the public and marine ecology issues. She looks forward to her future extension of the series, which connects her with the society meaningfully.