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McCreery, Cindy. "Satiric prints of women in late eighteenth-century England". Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336246.
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Mardilovich, Galina. "Printmaking in late Imperial Russia". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610714.
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Barry, Laura Pass. "Optical Instruments Used with Prints in the Eighteenth Century". W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626436.
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Davidson, Paul Scott. "Capturing the whirlwind : Paris depicted through the medium of Revolutionary Prints". Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8474.
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This thesis is the product of an Arts and Humanities Research Council Collaborative Doctoral Award, the result of which was the production of a catalogue of the Tableaux de la Révolution. Made up of some 500 prints, presented in four nineteenth century bound volumes, the Tableaux de la Révolution is part of the Rothschild Collection held at Waddesdon Manor, Buckinghamshire. One of the key goals of the project was to create an online resource that is now publicly accessible by internet. The initial cataloguing was split between Claire Trévien, also a recipient of and AHRC CDA, which she held in the French Department at the University of Warwick and myself. We ‘tombstone catalogued’ some 250 prints each, analysing the following: date, the identification of printing method and style, identification of subject and theme, a description of the image, translation and description of the text, as well as the construction of a theme-based search engine. My own contribution was the first and fourth of the large volumes in which the prints are kept (accession numbers: 4232.1 and 4222). Additional background research has also been conducted for each print, extended upon in the final in-depth analyses of circa 30 prints on my part. The items which received this treatment under my individual care were acc. nos: 4222.7.4, 4222.9.8, 4222.10.11, 4222.13.16, 4222.14.17, 4222.21.27, 4222.35.44, 4222.47.61, 4232.1.13.27, 4232.1.19.40, 4232.1.23.46, 4232.1.42.83, 4232.1.43.85, 4232.1.43.86, 4232.1.46.92, 4232.1.48.96, 4232.1.52.104, 4232.1.52.107, 4232.1.57.113, 4232.1.69.142, 4232.1.70.144, 4232.1.80.164, 4232.1.83.170, 4232.1.84.171, 4232.2.24.38, 4232.2.31.50, 4232.2.31.51, 4232.2.35.61 and 4232.2.47.80 (http://www.waddesdon.org.uk/collection/special-projects/tableaux-paul). The work done at Waddesdon Manor also proved invaluable vis-à-vis my thesis. The study of the prints laid the groundwork for me to broaden my knowledge of prints as a visual medium. In addition to this, an exhibition of the Tableaux de la Révolution was held at Waddesdon Manor in summer 2011. Part of the impact of the final catalogue also included a public lecture and ‘hands-on’ session, which I co-hosted with Claire Trévien. The catalogue of the Tableaux de la Révolution may be consulted on the Waddesdon website at: http://waddesdon.org.uk/collection/special-projects/tableau.
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Fisher, Kylie Michelle. "Imprinting Antiquity: Reinventing the Past through Sixteenth-Century Prints". Case Western Reserve University School of Graduate Studies / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=case1585853474864203.
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Ross, Gail Macdonald. "New Zealand Prints 1900-1950: An Unseen Heritage". Thesis, University of Canterbury. School of Fine Arts, 2006. http://hdl.handle.net/10092/937.
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The vibrant school of printmaking which emerged and flourished in New Zealand between 1900 and 1950 forms the subject of this thesis. It examines the attitudes of the printmakers, many of whom regarded the print as the most democratic of art forms and one that should reflect the realities of everyday life. Their subject matter, contemporary city scenes, people at work and leisure, local landscapes, Maori and indigenous flora and fauna, is analysed and revealed as anticipating by over a decade that of regionalist painters. They are also identified as the first New Zealand artists to draw attention to social and environmental issues. Trained under the British South Kensington art education system, New Zealand printmakers placed great importance on craftsmanship. Although some worked in a realist style others experimented with abstraction and surrealism, placing them among the forefront of New Zealand artists receptive to modern art. Expatriate New Zealand printmakers played significant roles in three major printmaking movements abroad, the Artists' International Alliance, Atelier 17 and the Claude Flight Linocut Movement. The thesis redresses the failure of existing histories of New Zealand art to recognise the existence of a major twentieth-century art movement. It identifies the main factors contributing to the low status of printmaking in New Zealand. Commercial artists rather than those with a fine arts background led the Quoin Club, which initiated a New Zealand school of printmaking in 1916; Gordon Tovey's overthrow of the South Kensington system in 1945 devalued the craftsmanship so important to printmakers; and the rise of modernism, which gave priority to formal values and abstraction, further exacerbated institutional indifference to the print. The adoption of Maori imagery by printmakers resulted in recent art historians retrospectively accusing them of cultural appropriation. Even the few printmakers who attained some recognition were criticised for their involvement in textile and bookplate design and book-illustration. Key artists discussed in the thesis include James Boswell, Stephen Champ, Frederick Coventry, Rona Dyer, Arnold Goodwin, Thomas Gulliver, Trevor Lloyd, Stewart Maclennan, Gilbert Meadows, John L. Moore, E. Mervyn Taylor, Arthur Thompson, Herbert Tornquist, Frank Weitzel, Hilda Wiseman, George Woods, John Buckland Wright and Adele Younghusband. Details of the approximately 3,000 prints created during this period are recorded in a database, and summarised in the Printmakers' Survey included in Volume Two. In addition reproductions of 156 prints are illustrated and documented; while a further 43 prints are reproduced within the text of Volume One.
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Watkins, Catherine Bailey. "Rembrandt's 1654 Life of Christ Prints: Graphic Chiaroscuro, the Northern Print Tradition, and the Question of Series". Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1302116377.
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Terjesen, Lori Ann Martin. "Collecting the Brücke: Their Prints in Three American Museums, A Case Study". Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.
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Vanhaelen, Engeline Christine. "Guilty pleasures : the uses of farcical prints for children in early modern Amsterdam". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ46439.pdf.
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Schlothan, Betty L. "Intriguing Relationships| An Exploration of Early Modern German Prints of Relic Displays and Reliquaries". Thesis, University of California, Riverside, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1543222.
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A group of early modern German prints related to relic displays, reliquaries, and collecting, though explored by Heinrich Otte in the mid-1800s, has been ignored in recent art historical literature. Though references to the various prints appear in texts on social, cultural, and religious history, a more in-depth consideration of the works is warranted. This thesis, as a preliminary step, categorizes the prints into two sub-groups, narrative and index. It further utilizes the intriguing relationships embodied in the prints to trace societal and cultural changes, including the rise of event reporting, collecting and organization of knowledge, and changes in religious practices.
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Westcot, andrea Kathleen. "Indian Woman and Revolutionary Men: Representing the Body Politic in the Satirical Prints of the American Revolution". W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626535.
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Wasylkiwskyj, Larissa Ariadne. "Exploring the Spectacle: Analyzing the Anatomical Prints in Andreas Vesalius' "De Humani Corporis Fabrica". Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/140127.
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Art HistoryM.A.
In his innovative publication of 1543, De Humani Corporis Fabrica, the anatomist and physician Andreas Vesalius (1514-1564) transformed the traditional definition, theories, and representations of human anatomy, dissection, and anatomical theater. This particular project explores the transformation through an analysis of the Fabrica's frontispiece, osteological, and myological woodcuts, which are found in Book I and Book II. This paper argues that Vesalius conceives of his book, beginning with the frontispiece, as a theatrum, a constructed space for presenting knowledge visually to its reader-viewers. Within that space there is a tension in the Fabrica between its new empirical claims and its modes of representation, which emphasize instead the artificial, theatrical, and rhetorical. By incorporating elements of performance and spectacle and by decontextualizing the anatomical theater and its figures through the use of recognizable artistic conventions--including allegorical Dances of Death and ancient statuary--Vesalius manages to capture the viewer's unflinching visual attention while also disguising some of the more gruesome realities and destructive methods of human dissection.
Temple University--Theses
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Wehn, James R. III. "Inventing the Market: Authenticity, Replication, and the Prints of Israhel van Meckenem". Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case155428951539756.
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Tobin, Amanda. "A Solution to “The Woman Question”: Envisioning the Japanese Woman in the Bijin-ga of Japan's Modern Print Designers". Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305769350.
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Tulloch, Janet. "The rhetoric of visual forms: A viewer-oriented analysis of selected biblical prints of women from the Renaissance and Baroque periods". Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/9604.
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Naoi, Nozomi. "Beyond the Modern Beauty: Takehisa Yumeji and the New Media Environment in Early Twentieth Century Japan". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11556.
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This thesis focuses on the modern Japanese artist Takehisa Yumeji (1884-1934) and his diverse range of graphic production, from illustrations in socialist newspapers and magazines with images of anti-war and leftist sentiment to fashionable images of beautiful women, referred to as "Yumeji-style beauties" (Yumeji-shiki bijin) in newspaper illustrations, coterie magazines, postcards, frontispieces, posters, and advertisements. Such works circulated widely and within the context of a growing female readership and the emergence of a new media environment that transformed the print medium from its "floating world" profile of the previous century into a technically diverse medium of modern visual culture and avant-garde pictorialism. Yumeji's graphic works participated in the generation of new kinds of modern identity. An extensive consideration of Yumeji's life and works reveals his role in the cultivation of a new demography of viewers and readers.History of Art and Architecture
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Rosenblatt, Ivana May. "Libeling Painting: Exploring the Gap between Text and Image in the Critical Discourse on George Villiers, the First Duke of Buckingham". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258995205.
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Kruckenberg, Whitney. "Degas, Cassatt, Pissarro and the Making and Marketing of the Belle Epreuve". Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/304620.
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Art HistoryPh.D.
Focusing on the prints of Edgar Degas, Mary Cassatt and Camille Pissarro, my dissertation explores the development of the belle épreuve, or the fine print, in relation to the Impressionist movement. I firstly consider the commercial tactics of the Impressionists in the face of the evolution of the modern art market and the decreasing relevancy of the Salon and expound on previous scholarship by demonstrating how the Impressionists' modes of presentation proved especially conducive to showcasing works on paper and how we might apply observations about the speculative nature of the Impressionists' formal innovations to their prints. Additionally I highlight contemporaneous observations about the heterogeneity of the Impressionist exhibitions that reveal meaningful insights into the nineteenth-century perception of the artists' relationships to each other, thus questioning the tendency to divide the exhibitors into two groups, the Degas-led realists and the Monet-led colorists. Then I consider the printmaking practices of Degas, Cassatt and Pissarro individually, elucidating how each artist's attitudes toward work, craft and business manifest formally in a small selection of examples from their printed oeuvres intended for exhibition or publication. Among the core members of the Impressionist group, Degas, Cassatt and Pissarro represented those most enamored with printmaking, even collaborating to create prints for a never-realized journal during the winter and spring of 1879 and 1880. I posit that the artists' shared compulsions for regular work, fascination with artistic processes, technical flexibility and curiosity and forward-thinking disregard for the traditional hierarchy accorded to media rendered them particularly suited for making rarified, laborious prints. A final factor that connects Degas, Cassatt and Pissarro is that all three artists had complicated relationships with the business of art or the need to sell. The dichotomy of art making versus art marketing manifested itself in their prints. While printmaking as a process implies multiple pulls of an original image for commercial reasons, by emphasizing handicraft through idiosyncratic techniques, Degas, Cassatt and Pissarro accentuated the artistry and labor of their prints. Because of the complicatedness of their practices, printmaking did not turn out to be particularly lucrative for any of them, yet the artists' efforts correlate to a concurrent vogue for intimate exhibitions and works, in terms of both size and technique, and Degas, Cassatt and Pissarro seemingly undertook printmaking with the progressive clientele already established for Impressionism in mind. I thusly connect my discussions of biography and personality to a consideration of Impressionism's relationship to the changing art market of the late nineteenth century, in which facture, as a record of artistic temperament, became a sought-after commodity for collectors of avant-garde art. Despite superficial differences with regard to their subject matter and approaches, an examination of Degas, Cassatt and Pissarro's printmaking practices reveals the assumed draftsmen and the colorists of the New Painting as kindred spirits, for whom the how of art-making proved just as significant as the what and for whom marketing was important but making was vital. The artists' uses of combinations of etching, softground, drypoint and aquatint demonstrates concerns for both design and tone, and each artist accordingly strove to achieve in their prints a balance of personal sensations and decorative artifice.
Temple University--Theses
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Tener, John V. "Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.
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Loggie, Valerie Ann. "Soho depicted : prints, drawings and watercolours of Matthew Boulton, his manufactory and estate, 1760-1809". Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1356/.
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This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted. The third chapter looks at a period of reinforcement of the identity of Soho, exploring the ways in which images were placed and altered in order to convey specific messages to particular audiences. Chapter four examines printed portraits of Boulton and argues that images of Boulton himself also came to stand for his factory and his products.
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Adams, Alissa Rachel. "The emperor is dead, long live the emperor: Paul Delaroche's portraits of Napoleon and popular print culture". Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2431.
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This master's thesis seeks to dispel the myth that nineteenth century painter Paul Delaroche's art was either apolitical or politically conservative. Through an examination of Delaroche's portraits of the late Napoleon I in conjunction with contemporary napoleonic prints, one finds that Delaroche was, indeed, deeply involved with contemporary politics. A close examination of his portraits shows that this involvement manifested itself in support for both the Cult of Napoleon and for the Bonapartist party.
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Wish, Cyndi. "It's the way it shatters that matters". Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/27840.
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The following dissertation is an investigation of print, language, political rhetoric, and use of the multiple in identifying and evolving culture. It is also a description of American culture over the last century, and the figureheads in the arts, from Duchamp to G. G. Allin, who were crucial in creating the confusing entity that is contemporary American culture.
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Tatsch, Flavia Galli. "A construção da imagem visual da América = gravuras dos séculos XV e XVI". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280501.
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Orientador: Leandro KarnalTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Este estudo apresenta uma reflexão sobre a construção da imagem visual da América nos séculos XV e XVI. O reconhecimento do potencial cognitivo da gravura como documento e a percepção do conjunto de relações que perpassam cada uma delas foram fatores importantes ao longo da pesquisa. Procurava-se entender de que forma as estampas eram o resultado de aspectos discursivos, da absorção das informações etnográficas e das operações de tradução e lugar de enunciação do Outro. Para isto, dividimos esta tese em três capítulos. O primeiro se ocupa da reflexão sobre a diversidade das imagens e das perguntas que podem ser feitas a elas, assim como a contribuição de alguns autores para essa discussão. O segundo capítulo trata das xilogravuras impressas para acompanhar as cartas sobre de Cristóvão Colombo e Américo Vespúcio. Entremeadas à escrita, não necessariamente pretendiam representar a realidade americana, mas traduzi-la em ilustrações compreensíveis ao público. O terceiro capítulo analisa dois momentos específicos: a construção de uma imagem a partir de estereótipos aliados à representação de objetos descontextualizados de seu uso original; e a personificação da América em alegorias. A conclusão diz respeito às sucessivas camadas que moldaram gradualmente a imagem visual da América e os significados diversos que dela emanavam
Abstract: This study presents a reflection on the construction of the visual image of America in the fifteenth and sixteenth centuries. The recognition of the cognitive potential of images as documents and the perception of the set of relationships that permeate each one of them were important factors during the research. The aim was to understand in which way the prints became the result of discursive aspects of the absorption of ethnographic reports and operations of translation and loci of enunciation of the Other. To accmplish this, we divide this, this thesis was divided into three chapters. The first one addresses reflections about the diversity of the images and questionings that could arise to them, as well as the contributions of several authors to this discussion. The second chapter deals with the woodcuts that accompany the printed letters by Christopher Columbus and Amerigo Vespucci. Interspersed in the writing, they did not necessarily intend to represent the American reality, but translate it into illustrations understandable to the public. The third chapter discusses two specific moments: the construction of an image from stereotypes associated with the representation of objects detached from their original context of use, and the personification of America in allegories. The conclusion refers to the successive layers that gradually shaped the visual image of America and the different meanings thereby conveyed
Doutorado
Historia Cultural
Doutor em História
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Rosenblatt, Ivana M. "Envisioning the Threshold: Pictorial Disjunction in Maarten de Vos". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1440085327.
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Lee, Francis Melvin. "Instruir de maneira intensa e imediata: circulação e uso de estampas no Brasil joanino". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-12052015-125408/.
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Este trabalho investiga a circulação e o uso de imagens bidimensionais no Rio de Janeiro do período joanino (1808-1821), principalmente as impressas, produzidas nacionalmente ou importadas da Europa. A principal fonte para a pesquisa foram os anúncios e notícias publicadas nas mais de 1.850 edições da Gazeta do Rio de Janeiro, primeiro periódico impresso no Brasil e que circulou de 1808 a 1822. Este levantamento foi combinado com os estudos já existentes sobre a História da Cultura, História da Arte e Cultura Material para o período.This study explores questions regarding the use and the circulation of bidimensional images in Rio de Janeiro during Dom João VI Brazilian period (1808-1821), with focus on engraved and printed images, locally produced or imported from Europe. The main sources were the advertisements published in more than 1.850 editions of Gazeta do Rio de Janeiro (1808-1822), the first periodic printed in the country. This survey brings together subfields as the Cultural History, Art History and Material Culture studies for this period.
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Tsoumis, Karine. "Giovanni Battista Cavalieri's Ecclesiae militantis triumphi : Jesuits, martyrs, print, and the counter-reformation". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83842.
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Five hundred years of Christian martyrdom are represented in the Ecclesiae militantis triumphi (1583). Engraved by Giovanni Battista Cavalieri, the series that was bound into a book reproduces a fresco cycle in the church of San Stefano Rotondo in Rome. While the church belonged to the Jesuit German-Hungarian College, the book accompanied priests in their proselytizing mission in Northern Europe. This thesis will look at the function of the book in relation to various audiences, in different viewing contexts. Analyzed primarily in relation to the intended Jesuit audience as an object of devotion, the book will also be inserted within the Early Christian revival promoted by Gregory XIII (1572-1585). Finally, it will be looked at in relation to an audience composed of individuals interested in factual knowledge about Early Christian history and in the martyr as a historical figure. A general endeavor of the thesis is to situate the Ecclesiae militantis triumphi in relation to late sixteen-century representations of martyrdom, both Catholic and Protestant, as well as in relation to other contemporary Roman printed works.
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Ben-Shach, Jane Respitz. "The false Messiah in Yiddish literature : a comparison between two dramatic works". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59384.
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This thesis discusses the role of the "false Messiah" in modern Yiddish Literature.The figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe.
Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Soviet Yiddish author David Bergelson are two twentieth century poetic historic dramas based on two messianic figures of the sixteenth century. These two modern works are compared in relation to the respective authors' life and times, political and aesthetic outlook, and dramatic powers. The comparison shows the usefulness of the "false Messiah" in dramatizing and expressing difficult contemporary issues.
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Vidal, Valdevania Freitas dos Santos. "O Necydalus : um jornal estudantil do Atheneu Sergipense (1909-1911)". Universidade Federal de Sergipe, 2009. https://ri.ufs.br/handle/riufs/4878.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis work investigates a student print called The Necydalus , in the period from 1909 to 1911, it was produced in Atheneu Sergipense, a secundary teaching instituition of Sergipe, so the analysis fulfilled in sixty-one series located in this newspaper as a sourse and object of investigation permited to comprehend, through that was written on this print, the conception of students about educational topics and others events happened in the daily of Sergipe, connected to period studied. The investigation linked to the designs of the New Cultural History and the History of Education, taking as perspective to verify the connections between the educative practices and the culture printed on the copies searched.
Este trabalho investiga um impresso estudantil denominado O Necydalus, no período de 1909 a 1911, o mesmo foi produzido no Atheneu Sergipense, instituição de ensino secundário de Sergipe. Sendo assim, diante da análise realizada nos sessenta e um números localizados deste jornal como fonte e objeto de investigação, foi possível compreender, através do que se escrevia nesse impresso, a concepção dos estudantes sobre temas educacionais e aos demais acontecimentos que se desenrolaram no cotidiano sergipano, relacionados ao período estudado. A investigação vinculou-se aos pressupostos da Nova História Cultural e da História da Educação, tendo como perspectiva verificar as relações existentes entre as práticas educativas e a cultura impressa nos exemplares pesquisados.
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Carvalho, Zínia Maria Cavalheiro de. "Restauração de quadros e gravuras de Manuel de Macedo (1885): um manual técnico para promover o respeito pelas relíquias do passado". Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/13309.
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Previous issue date: 2015-03-06Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis studies the restoration and preservation of Works of Art, with focus on the volume 112 from the Bibliotheca do Povo e das Escolas collection, entitled Restauração de Quadros e Gravuras, which was written by Manuel de Macedo and published in 1885. The collection aimed to compile curiosities and interests in studies, raising the interest in Reading. The volumes were written in ways that nonintelectuals could make use of its content. The volume selected for analysis shines a light on the value and preservation of monuments and precious artefacts found in the ancient art , as the author states in the Preface. This manual raises questions like Originality, forgery, conservation and restoration procedures, used materials, techniques of paintings and prints, that up to today are still subject of discussion, without cleared and difined standards. The research arises in the history of Science interface and technical studies on conservation and restoration in the eighteenth and nineteenth centuries, which marked the beginning of the practical and theoretical discussions on the preservation of historical heritage
O estudo realizado nesta dissertação a respeito da restauração e da conservação foca o volume 112 da coleção Bibliotheca do Povo e das Escolas, intitulado Restauração de Quadros e Gravuras, o qual foi escrito por Manuel de Macedo e publicado em 1885. Essa coleção tinha como propósito suprir curiosidades e interesses em estudos e incentivar a leitura, sendo preparada de modo que o leigo pudesse usufruir do conteúdo. O volume selecionado para análise é destinado a tratar do valor e da conservação dos monumentos e artefatos preciosos da arte antiga , como diz o autor no prefácio. Esse manual traz questões como originalidade, falsificação, os procedimentos de conservação e restauração, tipos de materiais utilizados, técnicas de pintura e gravura, que ainda hoje são aspectos em discussão, os quais não possuem parâmetros totalmente definidos. Nossa pesquisa se coloca na interface da história da ciência e da técnica com estudos sobre conservação e restauro nos séculos XVIII e XIX, marcados pelo início das discussões práticas e teóricas sobre a preservação do patrimônio histórico
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Niedzwiecki, Thaba. "Print politics, conflict and community-building at Toronto's Women's Press". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ27530.pdf.
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Phelippot, Geoffrey. "La Sphère royale : l'entreprise cartographique de Nicolas de Fer à Paris (v.1640-1720)". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0001.
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Cette thèse a pour objet d’étude Nicolas de Fer (1647-1720) et la production de son atelier cartographique de la Sphère royale. Contemporain de Vincenzo Coronelli, cosmographe et fabricant des globes de Louis XIV, et de Guillaume Delisle, géographe-astronome lié à la famille Cassini, Nicolas de Fer est, jusqu’à présent, connu comme un simple éditeur de cartes, dépourvu de toute autorité savante, alors qu’il est le premier géographe en France à utiliser les données de l’Académie royale des sciences pour la fabrique de ses cartes. Il devient en outre le géographe du Dauphin (1689) et celui de géographe du roi d’Espagne (1702). L’étude des ressorts de l’articulation entre son activité d’éditeur et celle de géographe est au cœur de cette enquête. La thèse propose d’explorer la trajectoire de Nicolas de Fer à travers le fonctionnement de son atelier-boutique, la Sphère royale, qui représente l’un des principaux centres d’édition et du commerce de cartes dans la France du Grand Siècle. L’angle de l’atelier offre un cadre de travail particulièrement propice pour envisager les motifs de la constitution du double profil de Nicolas de Fer et pour éclairer le fonctionnement d’un lieu de production cartographique. À partir de ce lieu, il s’agit de saisir ses pratiques concrètes afin de les réinscrire dans le contexte social et économique, culturel et politique de la période. Ce travail repose sur l’articulation de trois niveaux d’analyse : l’étude d’une trajectoire biographique, d’un atelier et d’une abondante production géographique. La thèse se présente donc comme une contribution à l’histoire des savoirs géographiques, à l’histoire de l’estampe, et à l’histoire des sciences et des savoirs. Elle vise à restituer les modes de production et de vente de la Sphère royale pour éclairer en retour la connaissance du milieu parisien de la cartographie des XVIIe et XVIIIe sièclesThe purpose of this doctoral thesis is Nicolas de Fer (1647-1720) and the production of his cartographic workshop of the Sphère royale. A contemporary of Vincenzo Coronelli, cosmographer and maker of Louis XIV's globes, and of Guillaume Delisle, geographer-astronomer linked to the Cassini family, Nicolas de Fer is, until now, known as a simple map publisher, devoid of any scholarly authority, whereas he was the first geographer in France to use data from the Académie royale des sciences to make his maps. He also became geographer to the Dauphin (1689) and geographer to the King of Spain (1702). At the heart of this investigation is the study of the link between his activities as a publisher and as a geographer. The thesis explores Nicolas de Fer's career through the workings of his workshop-boutique, the Sphère royale, one of the main centers of map publishing and trade in France during the Grand Siècle. The perspective of the workshop offers a particularly propitious setting in which to consider the motives behind the creation of Nicolas de Fer's double profile, and to shed light on the workings of a cartographic production site. The aim is to use this place as a starting point to grasp its concrete practices, and to reintegrate them into the social, economic, cultural, and political context of the period. This work is based on the articulation of three levels of analysis: the study of a biographical trajectory, a workshop, and an abundant geographical production. The thesis is therefore a contribution to the history of geographical knowledge, the history of prints, and the history of science and knowledge. It aims to reconstruct the ways in which the Sphère Royale was produced and sold, to shed light on the Parisian cartographic milieu of the 17th and 18th centuries
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Conidaris, Amanda Jane. "Contemporary South African printmaking : a study of the artform in relation to socio-economic conditions, with special reference to the Caversham Press". Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/49720.
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Date in university's graduation list: April 2003.Thesis (MA (VA))--Stellenbosch University, 2002.
ENGLISH ABSTRACT: The body of the thesis explores contemporary South African printmaking by focusing on The Caversham Press, established in 1985. Caversham's success encouraged the opening of four other studios, which formed the core of professional printmaking in South Africa up to 2000. Positioning Caversham in a broader arena, the politicised nature of printmaking in South Africa prior to 1985 is discussed and six projects produced at the Press between 1985 and 2000 are examined to situate the Press within the South African socio-economic and cultural context. Finally, the interaction between prints from Caversham Press projects and the art market in Johannesburg is described and analysed to ascertain the extent to which these six projects were products of their time and place in South African art history. In Appendices IV and V, the candidate's own printmaking work, which examines male midlife depression and its impact on the marital relationship, is discussed.
AFRIKAANSE OPSOMMING: Die hoofdeel van die tesis ondersoek die hedendaagse Suid-Afrikaanse drukkuns op die werk van The Caversham Press wat in 1985 gestig is, te fokus. Caversham se sukses het aanleiding gegee tot die ontstaan van vier ander drukkunsateljees wat die kern van professionele drukkuns gevorm het tot in die jaar 2000. Deur Caversham in 'n breër konteks te plaas, word die gepolitiseerde aard van drukkuns in Suid-Afrika voor 1985 bespreek. Verder word die ses ondernemings wat deur Caversham tussen 1985 en 2000 opgelewer is in die konteks van sosio-ekonomiese en kulturele omstandighede ondersoek. Ten slotte word die interaksie tussen Caversham Press projekte en die kunsmark van Johannesburg ontleed en bespreek met die doelom vas te stel tot hoe 'n mate hierdie ses projekte die tyd en plek van die Suid- Afrikaanse kunsgeskiedenis reflekteer. In Bylae IV en V, word die kandidaat se eie drukkunswerke, wat depressie in mideljarige mans ondersoek en die gevolg daarvan op die huweliksverhouding uitbeeld, bespreek.
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Sjödahl, Estelle. "Europas skönaste prins : En känslohistorisk studie om prins Fredrik Adolf i det gustavianska hovet". Thesis, Stockholms universitet, Historiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158079.
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This study contributes to the particular field of emotional history by exploring collective social attitudes towards affective expression. Here, the passionate behaviour of Swedish Prince Frederick Adolph is witnessed and evaluated by the country’s royal court during the eighteenth-century. The perspective on contemporary elite ideals is influenced by Barbara H. Rosenwein’s theory of “emotional communities”. By methodologically discerning the moral values in aristocratic and royal diaries, one can fruitfully analyse the group’s normative emotional ideas. Resulting from this thesis is an understanding of the royal court’s approval of the prince’s apparent sincere sensitivity and the disapproval of his passionate ways. Also, the importance of the culture of sensibility is understood to have an opponent in the society’s traditional structures. This is a revelation of an early modern emotional group’s formation based on shared European ideals in addition to social communal and individual belonging.KEY WORDS: history of emotions, sensibility, Sweden, royal court, Prince Frederick Adolph, diaries
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Lacson, Katherine. "Images in print : the Manileña in periodicals (1898-1938)". Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2016/document.
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Cette étude vise à révéler l’histoire évolutive de l’image de la Manileña à l’aide des traces textuelles et iconographiques découvertes dans la presse écrite disponible à Manille de 1893 à 1938. Ainsi, nous pourrons décrire et comprendre les continuités et les ruptures des images et des représentations de la Manileña. Il est urgent de mieux comprendre comment les médias reproduisent et construisent socialement le genre. Cette recherche vise à mettre au jour les conséquences et les répercussions de la culture visuelle sur l’image du genre dans le contexte de la modernité et de l’urbanisation. Notre étude explore le croisement entre histoire, genre, médias, modernité et urbanisation dans la sphère publique, la sphère privée et toutes les sphères intermédiaires. Nous espérons que cette thèse contribuera à la compréhension de la formation des représentations dans un contexte colonial de modernisation et d’urbanisation rapidesThis study hopes to provide the evolving story of the Manileña image through the usage of text and iconography found in print media available in Manila from 1898-1938. Through this process, the narrative of the continuities and changes of the images and representations of the Manileña that were created and portrayed in the periodicals may be seen and understood. This study also seeks to examine the various issues, perspectives and concerns that cropped up due to the changes that occurred. There is a need to understand how media reproduce and socially construct gender. This research hopes to find out the implications of visual culture and its impact on a gendered image in the face of modernity and urbanization. The study will interrogate the intersection of history, gender, media, modernity and urbanization as it plays in the realms of the public sphere, the private sphere and the unnamed realms in between. The study will hopefully add to the understanding of image formation in a colonial context undergoing rapid modernity and urbanization
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Lawson, John D. "A Study of the History of the Office of High Priest". Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1468.pdf.
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Laurent, René. "Les sceaux des Princes territoriaux belges". Doctoral thesis, Universite Libre de Bruxelles, 1997. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212859.
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Denton, Margaret Abbie. "Joanna Priest : her place in Adelaide's dance history /". Title page, abstract and contents only, 1992. http://web4.library.adelaide.edu.au/theses/09ARM/09armd415.pdf.
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Berberian, Glyssie Mills. "The chief priest Zadok in tradition and history". Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Dalbello, Marija. "Print Culture in Croatia: The Canon and the Borderlands". Hrvatsko bibliotekarstvo drustvo, 2005. http://hdl.handle.net/10150/105616.
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This is an introduction for the thematic issue, "Print Culture in Croatia," at: http://www.hkdrustvo.hr/datoteke/162This theoretical paper explores the theme of periphery and the borderlands and outlines the program for a new and transnational approach to the study of book culture in Croatia. Starting with a problem of fragmentation of Central European book histories, the essay argues how this could be turned into an opportunity to apply comprehensive and comparative approaches, using cultural area and comparing isomorphism of documentary practices rather than following the commonly used linguistic criteria (the national vernacular). European identity has been central to the Croatian construction of identity, and this can provide a broader framework for resolving the problem of how to construct a national history that acknowledges its status as boundary culture. If the European periphery is to claim its own cultural discourse, this will have to be through the controversial, ideological, and difficult task of cultural revision in which it will have to ex-territorialize itself and abandon a dream in which the national vernacular assumes a major function in language and society. This will not be possible without understanding the borderlands and an acceptance of its unique role in which dualities need to be accepted as an epistemology for boundary histories to assume significance within the dominant discourses of culture. In the dualities and multiplicities of the borderlands there arise counter-hegemonic interpretations, and the periphery can be validated by revealing the patterns of the center, connection to other traditions, and its own uniqueness at the same time. The thematic program for the study of Croatian print culture as boundary cultures is outlined as well.
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Biron, Carole. "Pigments et colorants dans l'art de l'estampe japonaise ukiyo-e (XVIIIe - XIXe siècles) : apports de l'imagerie hyperspectrale et de la spectroscopie infrarouge". Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30032.
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Les ukiyo-e désignent les estampes produites au Japon entre le XVIIe et le XIXe siècle. Elles sont le reflet des changements sociaux et économiques de la société japonaise pendant la période d’Edo (1615-1868), ère de paix et de prospérité, et adoptent une nouvelle iconographie représentant des scènes de la vie quotidienne et des plaisirs de la vie. Les techniques et les matériaux employés par les artistes évoluent également. Les premières estampes colorées apparaissent au début du XVIIIe siècle et au XIXe siècle, avec l’ouverture économique du Japon, des pigments chimiques importés d’Occident enrichissent la palette chromatique disponible. La collection Torralba (Musée de Saragosse, Espagne) comprend un fonds d’estampes ukiyo-e représentatives du XVIIIe et XIXe siècle. L’accès à ce corpus nous donne l’opportunité d’étudier les matériaux utilisés grâce à des méthodes adaptées, non invasives et sans contact, afin de suivre l’évolution de la technique et/ou des matériaux (locaux ou importés) employés. Un développement méthodologique est impératif afin d’analyser et de caractériser ces matériaux (pigments, colorants, liants, support), notamment les colorants organiques, difficiles à identifier. Les techniques de spectroscopie de réflectance dans l’infrarouge et d’imagerie hyperspectrale sont théoriquement capables de discriminer les matériaux organiques et inorganiques. Cependant les œuvres analysées sont souvent des systèmes complexes et les données obtenues sont la plupart du temps difficiles à interpréter de manière certaine. Il est donc indispensable de mettre en place une stratégie multi analytique afin de croiser les données et d’obtenir un maximum d’informations pour permettre l’identification des matériaux. L’étude de l’évolution des matériaux au cours du temps permet ainsi d’obtenir des informations importantes du point de vue de l’histoire de l’art et des techniques, reflets notamment des évolutions culturelles et sociétales au Japon au cours du XIXe siècleUkiyo-e means the prints produced in Japan between the 17th and 19th centuries. They reflect the social and economic changes in Japanese society during the Edo period (1615-1868), era of peace and prosperity, and adopt a new iconography depicting scenes of everyday life and the pleasures of life. The techniques and materials used by artists are also changing. The first coloured prints appear in the early 18th century. From the 19th century, with Japan's economic opening, chemical pigments imported from the West enrich the available color palette. The Federico Torralba Collection (Museum of Zaragoza, Spain) includes ukiyo-e prints representative of the 18th and 19th centuries. Access to this corpus gives us the opportunity to study the materials used, through appropriate non-invasive and contactless methods, and to follow the evolution of technologies and/or materials (local or imported) used. A methodological development is imperative to analyse and characterise these materials (pigments, dyes, binders), including organic dyes which are difficult to identify. Reflectance spectroscopy techniques in the infrared (FORS) and Hyperspectral Imaging (HSI) are theoretically capable of distinguishing organic from inorganic materials. However, the analysed works are often complex systems and the data obtained are difficult to interpret with certainty for the most of the time. It is therefore essential to establish a multianalytical strategy to cross the data in order to get maximum information allowing the identification of materials. The study of the evolution of materials over time gives the opportunity to obtain important information in art history and history of technology, reflecting the cultural and societal evolution in 19th century Japan
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Lamm, Debra Z. "Salvation through Suffering: Imaginative Pilgrimage in Schongauer's Christ Carrying the Cross". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437827993.
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Green, Nathaniel Clayton. "The Inner Audience: Fisher Ames and the Politics of Speech and Print". W&M ScholarWorks, 2006. https://scholarworks.wm.edu/etd/1539626518.
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Feiner, Christina Ann. "Fifth Monarchist Constructions and Presentations of Gender in Print". University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1436529466.
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Lemée, Emmanuel. "Devenir prince : James Stuart, réseaux européens et ambitions britanniques (1660-1685)". Electronic Thesis or Diss., Sorbonne université, 2021. http://www.theses.fr/2021SORUL097.
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Cette thèse étudie le rôle politique et social de frère d’un roi européen de l’époque moderne à travers le cas de James Stuart, duc d’York et d’Albany, frère du roi d’Angleterre Charles II. Prince pluriel, amené à se réinventer et à évoluer au fil des crises en se fondant sur son expérience et ses prédilections personnelles, James Stuart demeura toujours le fidèle second du souverain. Les frères Stuart se partagèrent les tâches : à Charles le soin de gouverner l’Angleterre, cœur politique et économique des îles britanniques, à James celui d’entretenir la fidélité des marges sociales et géographiques du royaume. Il y parvint en s’imposant progressivement comme le principal patron des îles britanniques et la clé de voûte de la diplomatie anglaise. À la fin années 1670, il était ainsi devenu responsable de l’essentiel des échanges avec les puissances catholiques du continent européen, tout en contrôlant les nominations au sein de l’armée et de la Royal Navy. Son rôle informel, qui faisait de lui l’un des principaux acteurs de la guerre comme de la paix, lui permit non seulement de se maintenir à la cour d’Angleterre malgré les oppositions croissantes, mais de devenir de plus en plus puissant et irremplaçable. Ce faisant, il contribua peu à peu à l’intégration des marges britanniques, accélérant le rapprochement des Couronnes d’Angleterre, d’Écosse et d’Irlande. Ce rôle de prince, conçu pour projeter une image publique valorisante, conduisit cependant à faire naître la légende noire de James Stuart, perçu par les Anglais comme un prince belliqueux, corrompu et inquiétantThis thesis studies the political and social function of the brother to an early modern European King through the case study of James Stuart, Duke of York and Albany, brother to Charles II of England. A multifaceted prince, he had to reinvent himself and evolve to overcome multiple crises while staying the king’s loyal second. He did so using his own experience and personal preferences, gradually shaping the function of brother to the King to mirror his identity. The Stuart brothers shared the Crown’s burden: Charles ruled England, the political and economic heart of the British Isles, while James managed the geographical and social fringes of the realm, ensuring their fidelity to the Crown. He did so by becoming gradually the main patron in the British Isles and the cornerstone of English diplomacy. By the end of the 1670’s, he was overseeing the essential part of the negotiations with the Catholic powers in Europe, while managing most of the appointments in the King’s army and the Royal Navy. His function, while informal, made him one of the main promoters of war and peace alike. This enabled him not only to keep his position at court, despite growing oppositions, but also to become increasingly powerful and irreplaceable. In doing so, he helped gradually integrate the British fringes, speeding up the unification of England, Scotland, and Ireland. This princely role, which was meant to broadcast an attractive public image, instead made James Stuart appear to the English population as a warlike, corrupted, and ominous prince, thus creating the black legend attached to him
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Frederick, Amy Reed. "Rembrandt's Etched Sketches and Seventeenth-Century Print Culture". Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1390500621.
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Weihrauch, Ronja. "Criminalising cannabis in South Africa: a history and post-Prince discussion". Master's thesis, Faculty of Law, 2021. http://hdl.handle.net/11427/33974.
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This thesis circles around the history of the criminalisation of cannabis as well as its decriminalisation around 100 years later. While dagga was cultivated and used by the indigenous tribes long before the first settlers arrived and even remained a legal substance during the colonial period, with the implementation of the first national legislation in 1922, the long history of harsh punishments began. Relating the harsh legislation on dagga to its estimated risks, I ultimately confirm dagga to be the black sheep among drugs, having experienced a racial prohibition. In September 2018, the Constitutional Court partially decriminalised dagga, due to the inconsistency of certain regulations prohibiting the use, possession, and cultivation of dagga with the right to privacy as referenced from section 14 of the Constitution. Emphasising the significant and practical impact of this judgement, possibly positive effects of the decision as well as the newly introduced Cannabis for Private Purposes Bill on the desperately overwhelmed criminal justice system are examined. Concluding, I find that the discourse around dagga most certainly is far from complete but that we have to continue conducting it. Because if history teaches us one thing it is that dagga is here to stay.
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Thompson, Eva M. "Mary Prince, and contexts for the History of Mary Prince, A West Indian slave, related by herself /". Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260901805.
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Dykema, Peter Alan 1962. "Conflicting expectations: Parish priests in late medieval Germany". Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282607.
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This study investigates the expectations various groups in late medieval German society held of their parish priests and how these expectations were mediated through specific relationships. By analyzing the qualities, skills, duties and services required of the parish clergy by those in the priest's own social network--the episcopal and patronal structures above him and the parish and clerical communities around him--this study reveals the mutual obligations and contradictions inherent in the priest's situation. The strategies employed by individuals and groups to articulate and enforce their demands are examined as well as the means by which priests could negotiate or resist in order to protect their own interests. The result is a web of expectations, the individual strands of which are inspected in three major parts of the study, corresponding to the demands of the episcopal hierarchy, the intentions of a late medieval movement to educate the simple priest, and the perspective from the parish. In fifteenth-century Germany, the bishops of Constance sought to reduce their crushing debt by introducing new taxes upon the clergy of the diocese. The parish priests banded together and defied the bishop in 1492, negotiating a payment favorable to them. Another source of revenue directly contradicted diocesan law as bishops tolerated the presence of concubines among their priests in return for the payment of an annual fee. Manuals for parish priests were in high demand throughout the late medieval period; their popularity only increased after the invention of the printing press. Written to inform priests how to carry out their daily duties and avoid sacrilege, these manuals helped to steer the basic training of the parish priest toward a vocational profile combining the aura of the cultic priest with the standardized efficiency of the professional minister. Perspective from the parish encompasses the differing viewpoints of patron, priests and parishioners. The case of Wurttemberg reveals how Count Eberhard (†1496) used parish resources in an attempt to reshape devotion in his lands. In towns and villages served by a number of priests, a local clerical brotherhood often existed alongside lay parish structures. Conflict and cooperation is measured both between the clergy and the laity as well as within the ranks of the priests themselves.
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Maxson, Brian Jeffrey. "Book Review of The Black Prince of Florence". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2679.
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Condon, Liam. "John Dunton : print and identity, 1659-1732". Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669920.
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