Thèses : « Modern art paintings »

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Doughty, Elizabeth Lynn 1984. « Modern Individualism : Paintings by Oscar Howe before the Annual National Indian Painting Competition at the Philbrook Museum of Art, 1958 ». Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10822.

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ix, 68 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
In 1958 Yanktonai Sioux painter Oscar Howe's (1915-1983) submission to the Annual National Indian Painting Competition at the Philbrook Museum of Art was rejected for deviating too far from the established conventions of "traditional Indian painting." Howe's innovative use of style and his subsequent declarations against the premises of his rejection established the artist as a major figure in the development of Native American painting in the twentieth century. The existing literature on Howe is predominantly biographical and lacks contextual or stylistic analysis. In particular, an under-analyzed relationship is prevalent between his mature style and his early works. This thesis aims to address the social, cultural, educational, political, and stylistic influences that prepared the artist to evolve the formal aspects of his painting. This discussion will expand the discourse on Howe by revealing trends of continuity in the artist's transition from his earlier style to an experimental style and showing that neither is without the influence of the other.
Committee in Charge: Leland M. Roth, Chair; Joyce Cheng; Brian Klopotek

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Cosgrove, Mary. « Paul Henry and Irish modernism ». Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243622.

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David, Elise J. « Making Visible Feminine Modernities : The Traditionalist Paintings and Modern Methods of Wu Shujuan ». The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.

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Rhodes, James W. Jr. « An Analysis of Visual and Verbal Appropriates in Mark Tansey's Philosophers Paintings ». VCU Scholars Compass, 1997. http://scholarscompass.vcu.edu/etd_retro/37.

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Critics have considered the work of Mark Tansey either simplistic or accessible only to viewers with extensive art historical backgrounds. His paintings hang in the best museums of the world, from the Metropolitan Museum of Art to the Museum Moderner Kunst, Vienna. However, an inherent conflict arises. For critics, Tansey must be either accessible or inaccessible, and not both. Yet, Tansey's paintings operate precisely on this edge between the extraordinarily simple and the overwhelmingly complex. To understand the complexities of this dilemma it would be helpful to analyze Tansey's paintings that deal with philosophers and literary critics, which are the most complicated works in his oeuvre. The philosophers included within these paintings are: Roland Barthes, Jean Baudrillard, Harold Bloom, Paul DeMan, Jacques Derrida, Michel Foucault, Geoffrey Hartman, and Jean-Francois Lyotard. All are postmodernists working in opposition to the reductionist rhetoric of mid-twentieth century modernism. This thesis will consider his images of philosophers that include Mont Sainte-Victorie (1987), The Bathers (1987), Derrida Queries DeMan (1990), and Constructing the Grand Canyon (1990) as the confluence and conflict of ideas that deal with words and images.

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Shulman, Katharine. « Paintings in Transit : A New Means For Protection of Collections, Balancing Traditional and Modern Conservation Philosophies and Methods ». Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/697.

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This thesis examines the motives behind museum loan and exchange policies and how loans can act as a new avenue for protecting and preserving paintings. When borrowed artworks are transported from one museum to another, there are many variables that come into play and careful planning is necessary for the safety of the object. Specific case studies of several well-known and respected museums that engage in and encourage loans will explore the complex nature of lending policies, their effect on the condition of artworks and their significance and impact on the museum world. This thesis culminates in an analysis of the loan fitness and possibility for transport of Joachim Beich’s Untitled, a painting in the Scripps College collection.

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Archer, Carol. « Frames, flows, feminist aesthetics paintings by Judy Watson, Cai Jin and Marlene Dumas / ». Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B3690787X.

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Berger, David S. « Modern Paintings of the Prodigal Son : Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949 ». University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336741954.

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Akard, Carrie Meitzner. « Southern Genre Painting and Illustration from 1830 to 1890 ». Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277611/.

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The purpose of this thesis is to give a concise view of stylistic, iconographical, and iconological trends in Southern genre paintings and illustrations between 1830 and 1890 by native Southern artists and artists who lived at least ten years in the South. Exploration of artworks was accomplished by compiling as many artworks as possible per decade, separating each decade by dominant trends in subject matter, and researching to determine political and/or social implications associated with and affecting each image. Historical documents and the findings of other scholars revealed that many artworks carried political overtones reflecting the dominant thought of the white ruling class during the period while the significance and interpretation of other artworks was achieved by studying dominant personal beliefs and social practices.

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Farguson, Julie Anne. « Art, ceremony and the British monarchy, 1689-1714 ». Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:e63509b1-425c-4308-bfc7-d991d46aa693.

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This thesis investigates the ceremonial and artistic strategies of the British monarchy in the years following the Glorious Revolution. By adopting a range of methodologies used in the study of visual culture, the thesis considers royal ceremonies as channels for conveying political messages non-verbally. These could affect attitudes to the monarchy, and inform artistic output. By paying particular attention to the way royal participants performed ceremonially in relation to the various formal and informal architectural settings for the court, the thesis highlights the process of seeing as a communicative act. Being alert to the impact of royal ceremonial and artistic activities on contemporary audiences, the thesis also considers the dissemination of royal imagery in England by commercial means. The thesis surveys paintings, prints and medals produced in England, and places the intended audiences at the centre of the analysis. It also pays keen attention to the impact of war on royal image making, and highlights the political context of continental Europe, especially in relation to William’s role as Stadholder-King but also the exiled Stuart court at St Germain near Paris. The evidence presented here supports a number of conclusions. Firstly, war had a profound impact on all aspects of royal image making. Secondly, royal behaviour and involvement in ceremony were vital elements in the visual presentation of monarchy. Kings and queens were of paramount importance, but their consorts were highly significant. Art was also taken seriously by the monarchy and the Crown tightened controls on royal image making during the period in question. The thesis also concludes that the nationalities of the incumbent monarchs and their consorts, along with their previous experiences and personalities, influenced their individual approach to visual representation. These approaches could shift depending on political circumstances and the personal inclinations of the person concerned.

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Cavallo, Bradley. « MATTER(S) OF IMMORTALITY : OIL PAINTINGS ON STONE AND METAL IN THE SIXTEENTH AND SEVENTEENTH CENTURIES ». Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/456452.

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Art History
Ph.D.
By the second decade of the twenty-first century, the preponderance of scholarship examining oil paintings made on stone slabs or metal sheets in Western Europe during the early modern period (fifteenth–eighteenth centuries) had settled on an interpretation of these artworks as artifacts of an elite taste that sought objects for inclusion in private collections of whatever was rare, curious, exquisite, or ingenious. In a cabinet of curiosities, naturalia formed by nature and artificialia made by man all complemented each other as demonstrations of marvelous things (mirabilia). Certainly small-scale paintings on stone or metal exhibited amidst these kinds of rarities aided in aggrandizing a noble or bourgeois collector’s social prestige. As well, they might have derived their interest as collectables because of the painter’s fame or increased capacity for miniaturization on copper plates, or because the painter left a slab of lapis lazuli, for example, partially uncovered to reveal its visually arresting stratigraphy or coloration. Nonetheless, while the lithic and metallic supports might have added value to the oil paintings it was not thought to add meaning. A totalizing theory about this type of artwork, based on a perception of them as if they had only served as conspicuous consumables, therefore overlooks that in other circumstances the stone and metal supports did contribute to the iconographic substance of the paintings. As this dissertation will argue, the introduction of metal and stone supports allowed patrons and painters literally to add another layer of meaning to an oil painting’s imagery. These materials mattered not just as passive receptacles of meaning but as active shapers of significance. Evidence for this hypothesis exists in the historical record in at least three identifiable contexts: Leonardo da Vinci’s Portrait of Ginevra de’Benci (ca. 1474–1478) in relation to the epistemological debate known as the Paragone; funerary monuments in Roman churches inclusive of painted portraits in relation to theories about color and lifelikeness; medallion-shaped, chest plates known as Escudos de monjas (Nuns’ Shields) worn by nuns of some religious orders in Colonial Mexico in relation to pre-Hispanic sacral materials. All three of these case studies ultimately concern the paradoxical materialization of the immaterial fame of the painter, the soul of the deceased, and the Christian divine. Observing them in tandem provides an outline of the origins and development of the technique of painting with oils on stone and metal, and consequently broadens our understanding of this wider, early modern phenomenon.
Temple University--Theses

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Czujack, Corinna. « An economic analysis of price behaviour in the market for paintings and prints ». Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212155.

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Mathias, Manon Hefin. « 'Apprendre à voir' : the quest for insight in George Sand's novels ». Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2987dce0-0e41-4d32-9da8-35b3c8284703.

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This thesis examines the novels of George Sand (1804-1876) and analyses representative examples from her entire œuvre. Its overall aim is to re-evaluate Sand’s standing as a writer of intellectual interest and importance by demonstrating that she is engaging with a cultural and intellectual phenomenon of particular relevance to the nineteenth century: the link between different ways of seeing and knowledge or understanding, which I term ‘insight’. The visual dimension of Sand’s novels has so far been overlooked or reduced to a rose-tinted view of the world, and my study is the first to examine vision in her work. I argue that Sand demonstrates a continuous commitment to ways of engaging with the world in visual terms, incorporating conceptual seeing, prophetic vision, as well as physical eyesight. Contesting the prevailing critical view of Sand’s œuvre as one which declines into blandness and irrelevance after the 1850s, this thesis uncovers a model of expansion in her writing, as she moves from her focus on the personal in her early novels, privileging internal vision, to wider social concerns in her middle period in which she aims to reconfigure reality, to her final period in which she advocates the physical observation of the natural world. Rejecting the perception of Sand as a writer of sentiment at the expense of thought, this study argues that her writing constitutes a continuous quest for understanding, both of the physical world and the more abstract, eternal ‘vérité’. I show that Sand transcends binary divisions between science and art, the detail and the whole, the material and the abstract, and that she ultimately promotes a multidisciplinary approach to understanding the world. This also enables me to reassess Sand’s poetics by arguing that her rejection of the mimetic model is founded on her conception of the world as multiple and constantly evolving.

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Loayza-Lauffs, Mariana. « The art of Guillermo Kuitca ». Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.

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Wong, Sau-mui Alice, et 黃秀梅. « Fashioning food in impressionist painting ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46599058.

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This thesis explores the various roles of food in Impressionism by examining paintings of food so as to sort out their relationship with one another and their linkage to modern life in Paris in the 19th century. Food was related to spectacle, class reconfiguration, gender relations, consumerism and capitalism, and leisure, all of which were part of the revolution of modernity in Paris. By analyzing Impressionist images of food production, display and consumption in relation to these modern social and historical developments, the thesis explores the relationship between food and people, meaning the social dimension of food culture. In addition to standard art historical approaches, two research methods are especially important. First is to understand the general historical context of food imagery by examining 19th-century cookbooks, novels and treatises related to food, and popular visual culture including posters, menus, and prints. Second is to identify and analyze particular food motifs by studying recipes, statistics, and dictionaries of food. Five chapters deal with five aspects of food. Chapter one talks about the crystallization of food into spectacle as a result of the conspicuous consumption facilitated by the construction of Les Halles, the central food market. Chapter two examines two different kinds of food production – rural agriculture and urban artisan cuisine – as expressions of two dissimilar attitudes towards labor, linked to competing conceptions of time as continuous and discontinuous. Chapter three raises the issue of sociability, where the pleasure of eating can only be obtained through the engendering of a semi-private space linking private eating to public identity. Chapter four shows how the coalescing of food and women in Impressionism intensifies the pleasures of visually and physically consuming the female body, while paradoxically entrapping male viewers in desire. Whereas these first four chapters emphasize social aspects of food, chapter five shows how food affected the interiority of particular artists, demonstrating the embodiment of psychological traits in Impressionist still lifes of food. Overall, the thesis shows that Impressionist paintings of food actively interpreted and defined modern food culture as a continuous process of spectacularization and systemization, and that they consciously draw parallels between food consumption and visual consumption as similar processes of pleasurable consumption. By revealing that Impressionist food imagery sometimes does not comply with other Impressionist genres in interpreting modernity, the thesis opens new ways of thinking about both food culture and Impressionism.
published_or_final_version
Fine Arts
Master
Master of Philosophy

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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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Merlin, Monica. « The late Ming courtesan Ma Shouzhen (1548-1604) : visual culture, gender and self-fashioning in the Nanjing pleasure quarter ». Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:0da584bf-16fc-4372-8a1b-b97afd3bcf8a.

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Ma Shouzhen (1548-1604) was a cultured courtesan who lived in the famous pleasure quarter along the Qinhuai River in Nanjing, the southern capital of the Ming dynasty (1368-1644). She was talented in dance and music, painting and poetry, and surprisingly for her time, she was also a playwright. Although she was a celebrity of the prolific Nanjing cultural milieu and there is a good corpus of extant material by and about her, the particular contribution of Ma Shouzhen - her character and her work - have been marginalised, or even neglected, by the previous scholarship. This thesis is a cross-disciplinary study of Ma Shouzhen and is the first in-depth scholarly investigation into the entirety of her activities. It employs material and methods traditionally pertaining to the disciplines of sinology, history, art history, literary and drama studies. The thesis has a dual aim: first, to provide a nuanced understanding of the courtesan, her cultural production and social practice; second, to reclaim the agency and legacy of her character within the cultural milieu of late Ming Nanjing and beyond. These aims will be achieved through two main research objectives: (1) recovering and re-evaluating visual and written sources by and about the courtesan; (2) investigating those sources in order to comprehend her modes of self-representation and strategies of self-fashioning, analysed especially through the lens of gender. The main body of the thesis is composed of an introduction, five core chapters, and an epilogue; the chapters are structured so as to provide as complete a picture of Ma Shouzhen as possible. Chapter Two explores the space of the pleasure quarter, Ma’s biography and its entwinement within the complexities of the historical moment. Chapter Three focuses on her painting, Chapter Four considers her poetry, and Chapter Five explores her theatre practice; Chapter Six extends the investigation to focus on the construction of Ma’s historical character in later decades. In its content and aims, this thesis contributes to women’s and gender history, as well as to studies in visual culture and literature.

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Pataki, Eva. « Haitian painting, the naives and the moderns / ». Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10730862.

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Hennig, Sybille. « The machine and painting : an investigation into the interrelationship(s) between technology and painting since 1945 ». Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.

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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.

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Spingou, Foteini. « Words and artworks in the twelfth century and beyond : the thirteenth-century manuscript Marcianus gr. 524 and the twelfth-century dedicatory epigrams on works of art ». Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:bd537f93-ab26-4a0c-8ee3-658da343effa.

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The thesis is divided into three sections. The first section discusses the manuscript Marcianus graecus 524, the second looks at the Greek text of the dedicatory epigrams on works of art from the same manuscript, and the third puts these texts in their context. In the first part, the compilation of the manuscript is analysed. I suggest that the manuscript was copied mainly by one individual scribe living in Constantinople at the end of the thirteenth century. He copied the quires individually, but at some point he put all these quires together, added new quires, and compiled an anthology of poetry. The scribe’s connection to the Planudean School and the Petra monastery in Constantinople is discussed. Although their relationship remains inconclusive, the manuscript provides evidence regarding the literary interests of late-thirteenth-century intellectuals. The second part contains thirty-five unpublished dedicatory epigrams on works of art. New readings are offered for the text of previously published epigrams. The third section analyses the dedicatory epigrams on works of art in their context. The first chapter of this section discusses the epigrams as Gebrauchstexte, i.e. texts with a practical use. The difference between epigrams intended to be inscribed and epigrams intended to be performed is highlighted. In the next chapter of this part, La poésie de l’objet, the composition of the dedicatory epigrams is discussed. The conventional character of the epigrams suggests that the poetics express the ritual aspect of the epigram. The last chapter considers the texts from a more pragmatic angle. After a short discussion of the objects on which the epigrams were written, the mechanisms of the twelfth-century art market are presented based on evidence taken mainly from the epigrams. At the end of this part, conclusions are drawn on the understanding of these texts in the twelfth century.

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Pollock, Asher W. « Phase Shift ». Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492781853322151.

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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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Diaper, Hilary. « The English reaction to modern French painting circa 1850-1880 ». Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238657.

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Purcell, Marisa. « Ancestral spaces time, memory and the liminal experience of painting / ». Connect to full text, 2007. http://hdl.handle.net/2123/2763.

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Thesis (M.V.A.)--University of Sydney, 2008.
Title from title screen (viewed 11 September, 2008). Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2008; thesis submitted 2007. Includes bibliographical references.

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Andrieu, Mélanie. « Une spécificité Cobra, les oeuvres collectives : émergence d'une pratique et exemplarité de Christian Dotremont ». Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.

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Cette thèse est une étude du mouvement Cobra à travers les œuvres collectives, une de ses composantes caractéristiques. Il s’agit tout d’abord de comprendre le mouvement, ses origines et influences, ainsi que sa visée d’un art libre, ouvert, expérimental, partie prenante de la vie. Dans un contexte social d’après-guerre, souvent politisé, Cobra défend l’action collective, définie notamment dans les notions d’antispécialisme et d’interspécialisme. Il convient de mettre en exergue les origines de cette pratique, et saisir les divers aspects qu’elle arbore, notamment au travers de revues, d’expositions ou de créations partagées. Le poète Christian Dotremont, animateur et âme de Cobra, favorise le travail de collaboration et contribue à son développement en stimulant les rencontres artistiques. Il se fait le passeur et le permanent "agitateur"» de cette notion. Les peintures-mots qu’il crée avec d’autres artistes participent à sa réflexion majeure sur l’écriture et la peinture. Ce lien interpelle quelques artistes belges comme Pierre Alechinsky, mais il passionne Christian Dotremont qui ne cesse de multiplier les expériences à ce propos, pour aboutir à ce qu’il nomme les logogrammes, remarquable fusion de la peinture et de la poésie, et aboutissement de toute une vie de recherche.

Ce travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.

This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Tycz, Katherine Marie. « Material prayers : the use of text in early modern Italian domestic devotions ». Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/276240.

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While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.

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Robins, Amanda School of Arts UNSW. « Slow art : meditative process in painting and drawing ». Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

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Francis, Jacqueline. « Modern art, 'racial art' : the work of Malvin Gray Johnson and the challenges of painting, 1928-1934 ». Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Coll_Diss_04.

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Cook, Alicia McCaghren. « Edgar Degas's fan shaped designs art, decoration, and the modern woman in late-nineteenth-century France / ». Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/cook.pdf.

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Taylor, B. D. « After constructivism ». Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:a09edf30-cdad-40a1-aa3e-03ce482a478c.

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This thesis examines the legacy and consequences of Constructivism in art, from the early days of the Russian avant-garde to recent times and today. The Introduction explains how the concept of faktura, first theorised around 1912 by David Burliuk and others, came to designate the material qualities rather than the subject-matter of art. Chapter 1: Towards A Constructive Ideal, traces the progress of faktura in the reliefs of V.Tatlin from 1913. The ancestry of faktura in the Eastern icon tradition is emphasised, where a close relation between sight and touch already suggested a new type of encounter between the viewer and the object of art. The chapter further examines the importance of faktura to Suprematism, and examines A.Rodchenko’s appeal to line as a rational element of construction and as a weapon against ‘composition’ in art. Chapter 2: Time and the Viewer presents evidence of the importance to artists in the period 1940-70 of the real-time encounter between viewer and the art-object, first in American and British ‘Constructionism’, and then in the Minimal art of Judd, Morris and others. The chapter ends with a discussion of temporality in relation to abstract paintings of Rothko and de Kooning. Chapter 3: Irregular Curves: Science and ‘The Organic’ reprises the minority Constructivism of Mikhail Matyushin and Pyotr Miturich that claimed organic structures were superior to technicist ones. Evidence is presented that the rectilinear grid was always subject to challenge, initially in the art of Emma Kunz, Jean Arp and other pre-war modernists but latterly among those for whom ‘field’ and ‘curvature’ became relevant formats after 1945. Particularly with the development of computing from the 1970s, new geometries based on iteration and scale-invariancy assumed major relevance to constructed art. Chapter 4: Constructivism Now presents evidence of the application of Constructivist principles in recent art, initially in Dan Flavin’s ‘monuments’ to Tatlin and others and subsequently in so-called Neo-Geo and Op art of the 1970s and 1980s. From that period on, albeit often in a register of irony and ‘serious play’, faktura in a Constructivist sense continued, and continues today, to define the relation between viewer and object of art.

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Andrews, Susan Lesley, University of Western Sydney, of Performance Fine Arts and Design Faculty et School of Design. « An imaginary other ». THESIS_FPFAD_SD_Andrews_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/458.

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This research paper focuses on a specific period in western art history. The eighteenth and ninteenth centuries held fascination for the author as it marked the beginnings of modern science, a time when the artist and scientist collaborated in a mythical search for a key to unlock the mysterious realm to the unknown. The artist/scientist set on course to discover a new frontier thought to be buried somewhere in woman's body.The paper has been formulated into three chapters. The author has examined how the representation of the body of woman was reduced to a stereotype in both art and science. By examining eight images, she has sought to expose the subjective nature of the artists/anatomists' investigation during this period in history and reveal how art and science formed a complicit alliance in the misrepresentation of the body of woman. Her body became the site and the chosen medium for the projected fears and phantasies of the male imaginary
Master of Arts (Hons)

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Zhu, Yanfei. « Transnational Canon Formation : The Rediscovery of Ming Yimin Ink Painting in Modern China, 1900-1949 ». The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1376651747.

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Chou, Pei-Yung. « Striking visual contrasts / ». Online version of thesis, 1990. http://hdl.handle.net/1850/10961.

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Leung, Mei-yin. « The Chinese Women's Calligraphy and Painting Society the first women's art society in modern China / ». Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628697.

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Cordy, Raven. « Making Christian Art in a Contemporary Setting ». Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.

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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.

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Wang, Xuning. « Realist painting and its relationship to my creative practice ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.

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This thesis examines the realist art movement from its origins in France in the 1840s to its development in China in the 20th century and its impact on the author as an artist. The thesis reviews the development of realism in France, and traces its impact on Chinese conceptions of realism in the 20th century. The contemporary debates surrounding realism in China are examined and contextualised within the recent history of realism in China. Finally the thesis looks at the impact of realism on the author’s creative practice and a case is argued for the development of realist ideas in a globalised culture and its value as a cross- cultural visual language.

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Leung, Mei-yin, et 梁美賢. « The Chinese Women's Calligraphy and Painting Society : the first women's art society in modern China ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628697.

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Miller, Jennifer Anne. « The Politics of Nazi Art : The Portrayal of Women in Nazi Painting ». PDXScholar, 1996. https://pdxscholar.library.pdx.edu/open_access_etds/5157.

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The study of Nazi art as an historical document provided an effective measure of Nazi political platform and social policy. Because the ideology of the Third Reich is represented within Nazi art itself, it is useful to have a good understanding of the politics and ideology, surrounding the German art world at the time. Women were used in this study as an exemplification of Nazi art. This study uses the subject of women in Nazi painting, to show how the ideology is represented within the art work itself. It was first necessary to understand the fervorent "cleansing" of the German art world initiated by the Nazis. The Nazis too effectively stamped out all forms of professional art criticism, and virtually changed the function of the art critic to art editor. The nazification of the German artist was "necessary" in order for the Nazis to enjoy total control over the creation of German art. With these three steps taken in the "cleansing" of the German art world, the Nazis made sure that the creation of a "true" Germanic art would go forth completely unhindered. In order to comprehend the subject of Nazi art regarding women, the inherent ideology must be studied. The "new" German woman under National Socialism, was to be the mother, the model of Aryan characteristics, healthy and lean. Nazi political doctrine stated that women were inherently connected with the blood and soil of the nation, as well as nature itself. Women were to be innocent and pure, the bearers of the future Volk and the sustenance of that Volk. Once this political ideology is understood, the depiction of the German woman as mother, as nature, as sexual object, can be placed within Nazi historical context. Political art provided the Nazi state, the historical legitimization the government needed. It provided the means by which the state could be visually validated, politically, and historically.

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Schultz, Ruth. « Being of shape : being--The ground through which all things are / ». Online version of thesis, 1989. http://hdl.handle.net/1850/11082.

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Weir, Simon. « The discontinuity of matter : Salvador Dalí, painting and architecture / Simon Weir ». Thesis, The University of Sydney, 2010. https://hdl.handle.net/2123/28849.

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Salvador Dali, is known primarily as a Surrealist painter, dandy and provocateur. His theoretical works are far less known. Dali’s theories, interspersed throughout his eleven books and numerous essays and interviews range across the fields of art, architecture, psychology and science. In this thesis I examine these ideas, in particular Dali’s paranoiac critical method, for their potential application in contemporary issues regarding representation and architecture.

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Howard, Rebecca Marie. « Movements of the Mind : Beyond the Mimetic Likeness in Early Modern Italy ». The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492175533714909.

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Wright, Barnaby. « Modern art and the professionalisation of culture : the development of modern painting in England at the beginning of the twentieth century ». Thesis, Courtauld Institute of Art (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430063.

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Duvernay, Bénédicte. « Fernand Léger : peinture, poésie et "vie moderne" ». Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0051.

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Fernand Léger a vilipendé la peinture "littéraire" et "narrative", mais n'a jamais cessé de côtoyer la poésie. En cela, il s'inscrit dans une tradition qui, depuis Manet, a affirmé l'autonomie de l'art par rapport à une culture reçue pour développer une attention extrême aux manifestations de la vie qui lui est contemporaine. C'est sur cette base, dans la séparation nette de l'art avec la culture bourgeoise, que s'est épanoui le rapprochement des peintres et des poètes depuis cette époque. Mais la "vie moderne" dont parle Léger est différente de celle à laquelle sont confrontés les artistes du XIXe siècle. Guerre, chaîne de montage et métropoles industrielles sont la toile de fond de sa collaboration avec Blaise Cendrars, de son interprétation des Illuminations de Rimbaud, ou encore de la création de son propre livre illustré, Cirque, que la thèse propose d'analyser
Fernand Léger has long reviled "literary" and "narrative" painting, but never has ceased to cross words with poetry. In that regard he falls within a tradition in which, since Manet, the autonomy of art has been clearly asserted in relation to the imposed hierarchy and values of bourgeois culture, so that it can wholly focus on the manifestations of life of its time. It is on that basis, in the clear split separating art and bourgeois culture, that the bond between poets and painters has flourished since then. But what Fernand léger refers to as "modern life" has nothing to do with what the 19th century artists were exposed to. War, assembly lines and industrial metropolis compose the background of his collaboration with Blaise Cendrars, his rendering of Rimbaud's Illuminations or the making of his own illustrated book, Cirque, that this thesis proposes to study

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Espezel, Amanda. « Working from the body : subjectivity and the artistic process ». Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.

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This paper is about the subjectivity of the body, and what this means in terms of my artistic practice. Composed in two sections, the first section addresses issues of personal history as content, the use of language in relationship to visual art, and experimental language as a tool to communicate visceral knowledge. I discuss the feminist critique of cultural, artistic and academic hierarchies, and explore how these themes inform my work. The second section examines the body of work I have developed within the MFA program. I explain the artists who have influenced my development, and give specific examples, whenever possible, of formal and conceptual influences. I use images of my own paintings, studio, and exhibitions to illustrate the progression of my practice. In conclusion, I contemplate the upcoming thesis exhibition, and explain my intentions regarding its completion.
vi, 56 leaves : col. ill. ; 29 cm

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Roche, Linda. « Theatre of painting a structural exploration of the forming of an image through paint : an exegesis submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2008 / ». Click here to access this resource online, 2008. http://hdl.handle.net/10292/469.

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This studio-based project explores a method of working that assigns agency to paint and process within the medium of painting. Underpinning this exploration is the notion that process driven making could potentially pose as a per formative event. Choreographed yet contingent, the practice investigates the relationship between the potentiality inherent within media and the extent to which this is affected by temporal/ external factors in the determining of outcome. A dialogue between the intentional and the contingent is initiated through a systematic approach that involves manipulation of the constituent elements of paint and the implementation of procedure and protocols as a means to activate conditions of possibility. Central to the research concerns are issues surrounding the ability of media to articulate itself, determine its own temporality and of process and content to operate conterminously. The images produced evidence this investigation as both enquiry and consequence.

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Müller, Axel. « Im Rahmen des Möglichen : Studien zur Bild- und Raumkonzeption der Malerei des 19. und 20. Jahrhunderts / ». Hildesheim : G. Olms, 1990. http://catalogue.bnf.fr/ark:/12148/cb35707754t.

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Wang, Yang. « Regionalizing National Art in Maoist China : The Chang’an School of Ink Painting, 1942–1976 ». The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.

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White, David Allan, of Western Sydney Nepean University et Faculty of Visual and Performing Arts. « From Apollonian to Dionysiac : a paper on Nietzsche's division of culture into two principal strains. The Apollonian and the Dionysian, and its application to the art of painting ». THESIS_FVPA_XXX_White_D.xml, 1996. http://handle.uws.edu.au:8081/1959.7/464.

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In this research paper for the postgraduate degree of Master of Arts (Hons) (Visual Arts), the author is proposing to investigate the relationship of Nietzsche's division of culture into two principal strains, 'The Apollonian and the Dionysiac', and its application to the art of painting. When Nietzsche wrote the 'Birth of Tragedy' in 1872, from which his division of culture emerged, it was entitled 'The Birth of Tragedy from the Spirit of Music'. Young (1992), also describes music as 'The Dionysian art' in his book 'Nietzsche's Philosophy of Art'. With consideration to changes in art and perception between the latter nineteenth and the twentieth century, a stronger argument for the inclusion of painting as 'a Dionysian art', can be formed. The author also analyses the metaphysical in art and through an examination of the nature of the Dionysiac as described in religious rites as opposed to varying analysis from Nitzsche and his critics
Master of Arts (Hons) (Visual Arts)

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Alles, Steven. « Organic psychology and the universe / ». Online version of thesis, 1996. http://hdl.handle.net/1850/11963.

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Bungarten, Gisela. « Johann Heinrich Füsslis (1741-1825) "Lectures on Painting" : Das Modell der Antike und die moderne Nachahmung / ». Berlin : Gebrüder Mann, 2005. http://catalogue.bnf.fr/ark:/12148/cb40921620z.

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Archer, Carol. « Frames, flows, feminist aesthetics : paintingsby Judy Watson, Cai Jin and Marlene Dumas ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B3690787X.

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Thèses sur le sujet « Modern art paintings »

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