Rozprawy doktorskie na temat „20th century art”
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Kyeyune, George William. "Art in Uganda in the 20th century". Thesis, SOAS, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408702.
Pełny tekst źródłaWei, Linna, i Xichan Zhao. "Investment Study on Christie’ Chinese 20th Century Art". Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13812.
Pełny tekst źródłaJeffery, Celina. "Leon Underwood and primitivism in 20th century British art". Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.
Pełny tekst źródłaAhn, En Young. "Translatability and 20th century Korean art (1930s to 1990s)". Phd thesis, Canberra, ACT : The Australian National University, 2003. http://hdl.handle.net/1885/9520.
Pełny tekst źródłaCappitelli, Francesca. "The chemical characterisation of binding media in 20th century art". Thesis, Royal College of Art, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444980.
Pełny tekst źródłaAsbury, Michael. "Hélio Oiticica : politics and ambivalence in 20th century Brazilian art". Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/8953/.
Pełny tekst źródłaGaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence". Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.
Pełny tekst źródłaManasseh, Cyrus. "The problematic of video art in the museum (1968-1990)". University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.
Pełny tekst źródłaZabecki, D. T. "Operational Art and the German 1918 Offensives". Thesis, Department of Defence Management and Security Analysis, 2009. http://hdl.handle.net/1826/3897.
Pełny tekst źródłaIZZO, Francesca Caterina. "20TH CENTURY ARTISTS' OIL PAINTS: A CHEMICAL-PHYSICAL SURVEY". Doctoral thesis, CA' FOSCARI, 2011. http://hdl.handle.net/10278/33884.
Pełny tekst źródłaArthur, Brid Caitrin. "Envisioning Lhasa: 17-20th century paintings of Tibet's sacred city". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437525195.
Pełny tekst źródłaPalladino, Nicoletta. "19th - 20th century zinc white paints : multidimensional physico-chemical characterisation". Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPAST042.
Pełny tekst źródła: This thesis explores the propertiesand use of zinc white oil paints, from the nanoand micro-scale up to the macro-scale of artworks.Zinc white (ZnO), a modern pigment developed in the late 18th century as a non-toxicalternative to lead white, was adopted in oilpaint in the middle of the 19th century. Initially used alongside lead white, its lower covering power and brilliance made it a choice forcolour blends and highlights, but also for impastos and grounds. It can cause condition issues,for example due to the formation of zinc soaps,which have been the main focus of several studies.Knowing the pigment is, therefore, crucialfor technical studies and artwork conservation.Thus, this research focuses on two areas: thestudy of the physico-chemical properties of zincwhite and the extent and modalities of use of thepigment. The analysis of several types of material is complemented by documentary researchand a survey among heritage professionals.The first axis is addressed through the analysis, at the nano- and micro-scale, of a large,unique and varied corpus of historical and modern artists’ materials from the leading European and American manufacturers, and a selection of painting samples compared with reference materials and paint mockups. Several analytical techniques are used, from conventionallaboratory methods (optical and electron microscopy, XRD) to large facilities, such as theAGLAE particle accelerator (PIXE, IBIL) andthe ESRF synchrotron (high-angle resolutionXRD). Other compounds than ZnO were identified in the paint materials, shedding light oncertain practices of colour manufacturers andexamples of adulteration. Hydrozincite, a probable degradation product of ZnO, was identifiedin some samples. This study highlights differences in the composition and size of ZnO particles between historical and modern materials,as well as a luminescence behaviour that is moredifficult to interpret because it depends on several factors linked to the pigment and its environment. The morphology and size of the ZnOparticles and the purity of the materials analysed suggest synthesis via indirect method.The second axis is based on X-Ray Fluorescence (XRF) spectroscopy campaigns onaround fifty artworks analysed in-situ in museums, and the detailed study of a selection ofpaintings in the laboratory. This research showsdifferent uses of the pigment through examplesfrom the beginning of the 19th up to the mid20th century, which form a reference databaseof artworks containing zinc white. The studyalso calls into question the identification of zincwhite, particularly when solely based on XRFanalyses. The interest in a non-invasive protocol for pigment identification based on its photoluminescence was highlighted, which is complementary to the use of cathodoluminescencefor the invasive study of paint materials.This research constitutes a reference onthe physico-chemical properties and use of zincwhite; it provides information on the materialhistory of the pigment and modern artworks,opening up new perspectives for artwork conservation and authentication
Buffington, Adam. "In Relation to the Immense: Experimentalism and Transnationalism in 20th-Century Reykjavik". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587637102245713.
Pełny tekst źródłaClarke, Jennifer. "The Effect of Digital Technology on Late 20th Century and Early 21st Century Culture". [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
Pełny tekst źródłaTaylor, Grant D. "The machine that made science art : the troubled history of computer art 1963-1989". University of Western Australia. Visual Arts Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0114.
Pełny tekst źródłaGanczak, Iwona. "At the crossroads of politics and culture : Polish dissident art of the 1980s". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.
Pełny tekst źródła蕭芬琪 i Fun-kee Siu. "The case of Wang Yiting (1867-1938): a uniquefigure in early twentieth century Chinese art history". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223357.
Pełny tekst źródłaHeath, Karen Patricia. "Conservatives and the politics of art, 1950-88". Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:d62a078b-4009-40a8-8765-1a4f5e0fbcbc.
Pełny tekst źródłaCheng, Christina Miu Bing, i 鄭妙冰. "Postmodernism: art and architecture in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
Pełny tekst źródłaFeng, Huanian, i 馮華年. "The reception of western art history in Republican China". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31227326.
Pełny tekst źródłaHester, Diarmuid. "Passionate destruction, passionate creation : art and anarchy in the work of Dennis Cooper". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/58069/.
Pełny tekst źródłaKaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory". Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
Pełny tekst źródłaWarmus, Sarah E. "The lost generation: truth and art". Thesis, Boston University, 2004. https://hdl.handle.net/2144/27792.
Pełny tekst źródłaPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
Thompson, Rowan Douglas. "Art and authority : aspects of Russian art since 1917". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1007298.
Pełny tekst źródłaOhki, Hitomi. "American Poet Emily Dickinson Set to Music by 20th Century Composers". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.
Pełny tekst źródłaSoprano: Hitomi Ohki
Piano: Anders Kilström
Aaron Copland (1900-1990)
Twelve Poems of Emily Dickonson
1, Nature, the gentlest mother
2, There came a wind like a bugle
3, Why do they shut me out of Heaven?
4, The world feels dusty
5, Heart, we will forget him!
6, Dear March, come in!
7, Sleep is supposed to be
8, When they come back
9, I felt a funeral in my brain
10, I've heard an organ talk sometimes
11, Going to Heaven!
12, The Chariot
White, Steven Robert. "A confluence of thinking: The influence of 20th century art history on American landscape architecture". Thesis, The University of Arizona, 1997. http://hdl.handle.net/10150/278634.
Pełny tekst źródłaRIZZI, Elena Maria Rita. "Modern art and the making of a French republican imaginary, 1919-1940". Doctoral thesis, European University Institute, 2021. https://hdl.handle.net/1814/70295.
Pełny tekst źródłaExamining Board: Professor Laura Lee Downs (European University Institute); Professor Ann Thomson (European University Institute); Professor Kevin Passmore (Cardiff University); Professor Béatrice Joyeux-Prunel (Université de Genève)
Winner of the 2022 James Kaye Memorial Prize for the Best Doctoral Thesis in History and Visuality.
Recent scholarship on the interwar French art milieu has overcome, on the one hand, ethnonationalism as the main interpretive framework for examining the relationship between art and politics and, on the other, a celebratory narrative that made Paris the liberal and democratic interwar art centre. Building on these recent studies, my thesis aims to reassess the nexus between art and politics in interwar France. I do this by asking what kind of Republican imaginaries were created in the modern art promoted by public institutions. In order to answer this question, the thesis builds on a second, recent body of scholarship that re-examines French politics and Republican political culture through new lenses. This work highlights the polysemic and plastic nature of Republican ideology, the variety of stances contained within Republicanism, and hence the existence of different and competing understandings of the French Republic. By delving into four case studies, namely the Musée des écoles étrangères, the Musée de Grenoble, the tapestries realised at the Manufacture des Gobelins and the mural art projects financed by the state in the late 1930s, the thesis demonstrates that the modern art promoted by public institutions engendered political imaginaries that testify to the simultaneous existence of conservative, liberal, civic or communitarian, that is, local Republics. While making modern art the bearer of competing views on the French Republic in the 1920s and 1930s, the imaginaries that were created by modern art institutions and practices mythologised Republican universalism. Yet, these imaginaries revealed all the ambiguity contained in France’s universalistic project. At a time marked by the never-ending bellicosity that ensued from the First World War and the political and economic crises of the 1930s, the imaginaries created by modern art thus gave birth to a Republican visual politics. As the thesis argues, this Republican visual politics had a sociopolitical meaning. Modern art, especially figurative art, created imaginaries that could confront, above all, the interwar crisis of the Republic and its universalism, and the crisis in social and political representations that stemmed from the political turmoil and instability of the interwar years.
Levi, Rachel M. "A Digital Crisis? Art History and Its Reproductions in the 20th and 21st Century". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/689.
Pełny tekst źródła霍少霞 i Siu-har Silvia Fok. "The development of the stars (Xingxing) artists, 1979-2000". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31225986.
Pełny tekst źródłapublished_or_final_version
Fine Arts
Master
Master of Philosophy
Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
Pełny tekst źródłaBeardmore, Peggy. "Students of Hospitalfield : education and inspiration in 20th-century Scottish art : the significance of Hospitalfield in the development of 20th-century Scottish art : the artwork and influence of James Cowie and Ian Fleming". Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=231423.
Pełny tekst źródłaSetti, Godfrey. "An analysis of the contribution of four painters to the development of contemporary Zambian painting from 1950-1997". Thesis, Rhodes University, 2001. http://hdl.handle.net/10962/d1002218.
Pełny tekst źródłaLui, Shi-mun Patricia, i 呂詩敏. "Research on the art of Zhu Ming with special focus on his Taiji', andThe living world' series". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207388.
Pełny tekst źródłaLloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.
Pełny tekst źródłaClarke, Jennifer 1974. "The effect of digital technology on late 20th century and early 21st century culture [electronic resource] / by Jennifer Clarke". University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000108.
Pełny tekst źródłaDocument formatted into pages; contains 65 pages
Thesis (M.L.A.)--University of South Florida, 2003.
Includes bibliographical references.
Text (Electronic thesis) in PDF format.
ABSTRACT: Recently, artists have begun using digital technology to create new cultural forms in the fields of art, literature, and music, and a new cultural form known as interactive digital multimedia has emerged, which combines elements from the new artistic, literary, and musical forms. Many of these artists have produced works that explore the interactive capabilities of digital technology. These interactive digital cultural forms have encouraged collaborative efforts that would have otherwise been difficult or even impossible to achieve before the advent of digital technology. In addition, this element of interactivity has redefined the traditional relationship between artist and audience. As the line between creator and consumer becomes increasingly blurred in interactive digital cultural forms, it becomes necessary to use terms such as "source artist" and "mix artist" to better define this new artist/audience relationship.
ABSTRACT: Postmodern theorists such as Roland Barthes and Michel Foucault anticipate this new artist/audience relationship in their writings. More recent theorists, such as Margot Lovejoy, George Landow, and Paul Théberge, writing after the advent of digital technology, have suggested that interactive digital cultural forms and the changing nature of the artist/audience relationship present opportunities for cultural creation and participation that extend the opportunities afforded by traditional artistic production and consumption. Works such as the As Worlds Collide website, Stuart Moulthrop's Victory Garden, the music of the Chemical Brothers, and Peter Gabriel's multimedia CD-ROM EVE are examples of these new interactive digital cultural forms. These works present navigable constructs (often incorporating elements culled from other source artists) that can be experienced and "re-mixed" by subsequent mix artists who choose to interact with these works.
ABSTRACT: The increased agency provided by these interactive works brings with it new responsibilities for both the source artist and the mix artist. By encouraging collaboration and experimentation, redefining the artist/audience relationship, and expanding the responsibilities of the source artist and the mix artist, interactive digital media extend the possibilities for cultural creation and participation. As digital technology develops, so do the opportunities for cultural development among society as a whole.
System requirements: World Wide Web browser and PDF reader.
Mode of access: World Wide Web.
Chaplain, Josefina. "Gendered visions postcolonial Indian art". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31223928.
Pełny tekst źródłaLoayza-Lauffs, Mariana. "The art of Guillermo Kuitca". Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
Pełny tekst źródłaFerguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.
Pełny tekst źródłaHolford, Stephen Charles John. "Cocteau in London: the Lady Chapel, Notre-Dame de France". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12327.
Pełny tekst źródła阮佩儀 i Pui-yee Yuen. "A study of the Art of Mu Shiying's fiction". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31222134.
Pełny tekst źródłaMukdamanee, Vichaya. "(De)contextualising Buddhist aesthetics". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ee1e2b7f-1c97-40ec-be69-160a3a35cf03.
Pełny tekst źródłaAbdullah, Sarena. "Postmodernism in Malaysian art". Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/9457.
Pełny tekst źródłaWilliams, Kerry. "Fleshing the facade : the manual". Thesis, The University of Sydney, 1989. https://hdl.handle.net/2123/27858.
Pełny tekst źródłaRattalino, Elisabetta. "The seasons in the city : artists and rural worlds in the era of Calvino and Pasolini". Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15588.
Pełny tekst źródłaHojdyssek, Gunter Art College of Fine Arts UNSW. "From laughing at the world to living in the world". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43091.
Pełny tekst źródłaIzzo, Francesca Caterina <1982>. "20th century artists' oil paints : a chemical-physical survey". Doctoral thesis, Università Ca' Foscari Venezia, 2011. http://hdl.handle.net/10579/1100.
Pełny tekst źródłaThe research project developes in PhD research in Chemical Sciences deals with the study of modern and contemporary works of art, focusing on materials and production techniques employed by artists. In this study innovative and specific analytical techniques have been optimised: the survey has been successful not only in detecting the nature of artistic materials used in the 20th century, but also in studying their behaviours over time. Thid PhD researc has been part of an international project concerning the Conservation of Contemporary Art and has lead to the improvement of new methodologies to study proteinaceous and lipidic binding media by using chromatographic techniques (GC-MS, Py-GC-MS, HPLC). These methods have also allowed for the identification and the role of industrial additives (such as aluminium and zinc stearates and hydrogenated castor oil), which had been not fully studied previously. This part of the PhD research has been developed in the Netherlands, in the laboratories of the ICN (The Netherlands Institute for Cultural Heritage, Amsterdam), under the supervision of Dr. Klaas Jan van den Berg and Mr. Ing. Henk van Keulen. The research has been part of the international project called "20th Century Oil Paint Project", carried out at ICN in collaboration with Courtauld Institute of Art, London, Tate, London and Getty Conservation Institute, Los Angeles. The research was initially focused on the study of laboratory-reconstructed oil films, which were prepared with lipidic binders, additives, pigments and driers used by modern oil manufacturers. The films were studied by using several analytical techniques: FT-IR, XRF, TG-DSC and GC-MS. This study has lead to an improvement of analytical methodologies for the study of manufactured oil samples. Furthermore, the research focused on real samples taken from important modern paintings by Lucio Fontana, Jasper Johns, Karel Appel, Willem de Kooning, Salvador Dalì, Henri Matisse, Isabel Lambert-Rawsthorne, Ethel Walker, etc. The obtained results are a further step in the knowledge of materials used in artistic and technological production in Contemporary Art.
Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso". Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
Pełny tekst źródłaLai, Mei-lin, i 黎美蓮. "Words and images in contemporary Hong Kong art: 1984-1997". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31222808.
Pełny tekst źródłaBoetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.
Pełny tekst źródłaBellettiere, Giovanna Marie. "AMERICAN FEMINISM: THE CAMERA WORK OF ALICE AUSTEN, ALFRED STIEGLITZ, AND BERENICE ABBOTT". Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/578947.
Pełny tekst źródłaM.A.
This thesis explores the work of photographers: Alice Austen, Alfred Stieglitz, and Berenice Abbott in relation to the American landscape of New York from approximately 1880 through 1940. Although the artwork of Georgia O’Keeffe is not addressed specifically, her role as an artist communicating her modern self image through Stieglitz’s photography is one area of focus in the second chapter. Previous scholarship has drawn parallels between women artists and photographers solely in terms related to their gender identity. In contrast, my project identifies a common theoretical thread that links the work of these artists: namely, that photography allowed professional women of this time to react and rise above the constrictions of gender expectations, and moreover, how their own attitudes based in feminist sensibility enabled them to fashion and broadcast bold, liberated self-images. Inspired by the radical transformations of women’s social roles in the United States, each artist produced photographs that represented the evolving role of women in the late nineteenth and early twentieth centuries. Using visual analysis and historical context associated with the “New Woman” movement, I argue that each artist discussed in this thesis not only challenges the domestic sphere conventionally assigned to women photographers, but also makes new strides by engaging in work that allows for them to autonomously travel within their own territories or new expansive locations. This thesis gives fresh insight as to how photography provided novel opportunities for elevating women’s place in society, as well as in the artistic realm. Overall, photography was an important tool for each artist as these three women act as agents of change by demonstrating a control of womanhood while the role of a female was beginning to become less constrained by the domestic and social norms of society.
Temple University--Theses