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1
Haidar, Navina Najat. "The Kishangarh school of painting, c.1680-1850". Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319068.
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Nallicheri, Renu Agawal. "Automotive painting--an economic and strategic analysis". Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/12304.
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Olander, Marilyn V. "Painting the Voice: Weblogs and Writing Instruction in the High School Classroom". NSUWorks, 2007. http://nsuworks.nova.edu/gscis_etd/757.
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Writing is a complex cognitive skill, a technology for capturing speech whose forms and conventions began in the dawn of civilization and were in place and stable by the Middle Ages. Writing and reading are the foundation of literacy, fundamental to success in school and in the adult world. No comprehensive theory of composition guides the teaching of writing, although historically two approaches have been favored: writing as a skill acquired through the memorization and recognition of principles of grammar and usage, and more recently, writing as a process of recursive strategies of pi arming, drafting, revising, editing, and publishing. The National Council of Teachers of English supports the methodology of the writing process; the literature reports that teachers perceive it as an effective tool. However, national testing programs including the National Assessment of Educational Progress and the Scholastic Aptitude Test reveal that students' achievement in writing has not changed appreciably from the mid-level baselines established more than two decades ago.
Reading and writing capabilities are closely associated with motivation. Many students function perfectly well, while others struggle. Students commonly regard writing as a chore, a closed loop between student and teacher to demonstrate what one knows, with the primary value being the correction of errors and a grade. Computer aided learning has become routine in schools. Within the past six years, teachers have begun exploring weblogs, a recent multimedia technology that draws on students' interest in computer related communication. Blogs enable [Tequent writing that is either spontaneous or planned and accessible by readers whether in a password-protected environment or open to the Internet. The study used a Web survey, telephone interviews with teachers, and observation of students' blog posts to explore the potential of blogs as a tool for teaching writing in the high school classroom. Educational blogging is as yet a new resource; a canon ofbes! Practices has yet to emerge. However, the study found that blogs hold particular promise for most young writers as an authentic, interactive domain for practicing to learn and learning to practice effective writing and its accompanying skills, reading and thinking.
4
Fang, Hui. "Sesshu Toyo's Selective Assimilation of Ming Chinese Painting Elements". Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12984.
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Sesshu Toyo (1420-1506) was a preeminent Japanese monk painter who journeyed to China in the mid-fifteenth century. This thesis focuses on a diptych of landscape paintings by Sesshu Toyo, Autumn and Winter Landscapes (Shutou sansui zu), to analyze how Sesshu; selectively synthesized traditions of Chinese painting tradition that had already been established in Japan and the art conventions he discovered in fifteenth-century China. To contextualize this topic, this thesis explores the revival of the Southern Song (1127-1279) painting tradition which had impacts on both contemporary Chinese painters and landscape painters in Japan during the fifteenth century. I also analyze the culture of Japanese Zen monastics and their art-related activities and the transformation of Southern Song painting traditions within China in the early Ming period (later half of the fourteenth century-first half of the fifteenth century).
5
Feijoo, Manuel. "Vertical School of Art". Thesis, Virginia Tech, 2013. http://hdl.handle.net/10919/23104.
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Vertical Buildings (skyscrapers) challenge our perception of space, our perception of scale, our idea of movement, they challenge the way we live. Currently urban cities are becoming more and more dense. Lack of space is a big issue and now buildings are being torn down and are replaced by skyscrapers. And these new skyscrapers are being redefined to house a living and working environment. Cubism challenges our perception of depth, our tactile sense, our ideas of proportion. Cubism, as a 20th century movement, was in continuous exploration of the senses. Cubists challenged the conception of art, and consequently shaped and influenced many social movements of their time.
Like any human expression, art and architecture are in a continuous evolution. Both share the pursuit of perfection, the exploration of spatial, sensorial, and emotional feelings. Both are a part of us.
With all of these ideas in mind, I started to investigate and explore the idea of a skyscraper that would house an art school. Where the building and its inhabitants will contribute to its surroundings of the school.
There is the challenge of programing the art school into a vertical configuration and at the same time, this challenge offers the possibility of discovery for new organization of the school as a vertical world.
Master of Architecture
6
Murphy, Michele P. "Colour choice and exploratory behaviour in the easel painting of nursery school children /". Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsm978.pdf.
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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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Wilson, Jeffrey Allen. "Conceptual relations of architecture, painting, color, and education and their application in an elementary school". Thesis, Virginia Polytechnic Institute and State University, 1996. http://hdl.handle.net/10919/53430.
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If the theories of Piaget (stages of cognitive development) and Bruner (anything can be taught to anyone as long as it is taught in their language) are combined and applied to an elementary school the resulting conclusion is very quickly hands-on learning. Or, more simply, elementary-aged children understand their world through tangible experiences, so teach them through tangible experiences.
A child's early memory code is formed by concrete experiences (combinations of the 5 senses), but these experiences become the building blocks for their later abstract cognitive thought patterns. This theory of education is widely applied from the standpoint of teach (hands on lessons, manipulative, etc.), but is a low if not nonexistent priority in constructing the environments in our schools. The experiential aspects of our schools should not only provide for a purely more pleasing environment, but should also allow for strong behavioral imprinting experiences that would result in memory niches -- the foundation for later abstract cognitive thought patterns.
This diagram shows the progression of memory coding through these stages and how the resulting thoughts would be accessed.Master of Architecture
9
Visagie, Ashley. "Painting a picture of possibility: the transmission of symbolic violence in an urban township school". Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30995.
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The purpose of this study is to explore the narratives and non-verbal communication of students and teachers in one low socioeconomic status school, with particular reference to the messages that are conveyed about student performance and student aspirations, and student responses to these messages. The validity of these messages is evaluated in relation to the contexts, conditions and interactions within the school. To this end, the study employs conceptual resources drawn from Bourdieu and Lefebvre, especially Bourdieu’s notions of symbolic violence and misrecognition. Data is derived primarily from interviews with teachers and students and from observations within the school. The study finds that students are confronted with several messages of promise and threat at school which link ‘success’ and performance to individual effort and choices. However, such messages ignore the ways in which the contexts and conditions in which schooling takes place impact on student performance and constrain their future opportunities. Even students who have great ambitions, who adopt a positive mind-set and who work hard have to reckon with the realities and narrow possibilities that come from being in an under-resourced school in a poor community. The study suggests that managerialist and meritocratic explanations of student performance, that are currently dominant in South African policy discourse, present too narrow a view of the realities that produce underperformance and that such explanations imply that students and teachers are to blame for disadvantages that are produced by systemic inequalities.
10
Kennedy, Froukje Margaret. "An investigation of a portfolio model for assessing the elementary school dance class". Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1138914852.
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Thesis (M.A.)--Ohio State University, 1994.Advisors: Vera J. Blaine, Dept. of Dance and Judith S. Koroscik, Dept. of Art Education. Includes bibliographical references (leaves 153-154). Available online via OhioLINK's ETD Center
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Guardiano, Nicholas. "Transcendentalist Aesthetics in Emerson, Peirce, and Nineteenth-Century American Landscape Painting". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/914.
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My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways.
12
Ali, Wijdan. "A survey of modern painting in the Islamic world and the development of the contemporary calligraphic school". Thesis, University of London, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365462.
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The fIrst part of the thesis deals with the development of modem painting in the Islamic world according to Western concepts and styles. It traces the inception of Western aesthetics from the 19th centmy onwards and touches on the political, social and economic determinants that aided their introduction in the following countries: Turkey, Egypt, Lebanon, Iraq, Algeria, Tunisia, Morocco, Iran, Syria, Jordan, Palestine, Sudan, and the Arabian Peninsula. The second part of the thesis analyzes the movements which sought to establish a modem art style in the Islamic world that would confirm a national artistic identity. It follows the different art movements which undertook this quest that eventually led to the development of the contemporary Calligraphic School of Art. It discloses the factors and artists which induced its inception. It establishes the main styles and various branches of the modem Calligraphic School of Art, including in-depth analysis and critique of each style, sub-style and its adherents. The placement of the Calligraphic School within the scope of international art is also mooted. The thesis ends by establishing a continuity between traditional Islamic art and the contemporary calligraphic school of art in the Islamic world.
13
Chen, Hsiu-Hsiung. "The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan". FIU Digital Commons, 1996. http://digitalcommons.fiu.edu/etd/2131.
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For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations.
Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education. The purpose of this study was to determine the effects of teaching Chinese painting appreciation on the artistic achievements of junior high school students in Taiwan. The subjects were seventh grade students who had never learned Chinese painting before. Two classes were randomly chosen from each target school and were designated as the experimental or control group. Instruction in all groups was delivered by the researcher himself. At the end of the study, data about subjects' related knowledge, creative technique, and feeling toward Chinese painting were systematically collected and analyzed.
The result of the study was that students in the experimental group were more motivated to learn Chinese painting than were the students in the control group. Students in the experimental group made better progress in the development of creative skill, had better critical ability, and demonstrated better performance in Chinese painting form, set up, stroke and color of related knowledge than did students in the control group. It was therefore concluded that Chinese painting appreciation education can promote better artistic achievement and that this approach should be used in other areas of art education.
14
Зякун, Алла Іванівна, Алла Ивановна Зякун i Alla Ivanivna Ziakun. "Іконописна школа Києво-Печерської Лаври ХІХ ст". Thesis, Сумський державний університет, 2019. https://essuir.sumdu.edu.ua/handle/123456789/77153.
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Важливу роль в культурному житті Лаври відігравала її
іконописна школа. У XIX ст. в Петербурзі функціонувала
Академія мистецтв, що готувала професійних майстрів, та на
Україні не було ні середнього, ні вищого мистецького
навчального закладу. Фактично їх роль виконувала іконописна
школа Києво-Печерської лаври, основним завданням якої було
навчання рисунку та живопису. Заняттями учнів керували
досвідчені монахи-живописці. В основу навчання, був
покладений метод копіювання гравюр з різноманітних
західноєвропейських художніх альбомів, котрих в Лаврі було
достатньо. У формуванні творчої індивідуальності учнів значна
роль належала вчителям, які свої знання та навички, що
накопичувалися протягом тривалого часу, передавали учням.
Лаврські учні були хорошими орнаменталістами. В їхніх
роботах присутні орнаментальні мотиви запозичені з народної
вишивки, різьблення по дереву, ювелірної чеканки.
Досконалими пейзажними малюнками лаврських учнів є
фрагменти настінних розписів Успенського собору і Троїцької
церкви, зокрема відомим художником був лаврський ієромонах
Іринарх, який у 1844 р. виконав частину розписів в
Успенському соборі.
15
Cao, Maggie M. "Episodes at the End of Landscape: Hudson River School to American Modernism". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11535.
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This dissertation examines the dissolution of landscape painting as a major cultural project in the late nineteenth-century United States. As a genre aligned with the goals of nation building, landscape maintained a privileged artistic status for much of the nineteenth century. Yet as frontier development, land speculation, environmental change, and other factors slowly rendered its conventions meaningless, landscape became the site through which American artists most urgently sought to come to terms with the modern world. This argument is anchored by unorthodox artworks, from landscapes resembling banknotes to paintings made out of bird feathers—limit cases that allude to the failure of landscape in sustaining American cultural goals. Chapter One concerns Albert Bierstadt's aesthetic struggles in post-frontier America. During the 1890s, Bierstadt's anxieties about landscape surfaced in the particularities of objects that fold and unfold, from butterflies painted by chance to expanding railway cars—objects that might be considered the subconscious of a genre built upon expansionist ideology. Chapter Two argues that Martin Johnson Heade's tropical and marsh paintings of the 1870s and 1880s used “groundless” conditions to express cultural insecurities about traversable land and its representation. The pictorial blockages and interferences in Heade's paintings challenge both the compositional legibility espoused in the blockbuster canvases of his mentor and rival Frederic Church and the physical accessibility promised by the period's environmental interventions. Chapter Three proposes that Ralph Blakelock's nocturnes and money paintings—produced in the context of rampant land speculation, volatile art markets, and representational doubts surrounding paper currency—attempt but fail to overcome landscape's monetary entanglements. Blakelock's paintings theorize the value of labor and material accumulation in the increasingly abstract economic world of the last decades of the nineteenth century. Chapter Four reconsiders the trope of the "figure in the landscape" using Abbott Thayer's turn-of-the-century representations of animal camouflage. In these mixed-media artworks, Thayer's attempts to visualize invisibility demonstrate the ways in which camouflage proved irreconcilable with landscape's figure-ground principles. Together, these episodes trace pictorial attempts to resolve spatial problems arising with modernity, and in so doing, they signal a shift toward new paradigms of representation.History of Art and Architecture
16
Woodger, Jeff Robert University of Ballarat. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)". University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.
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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."Doctor of Philosophy
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Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)". Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38512.
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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."Doctor of Philosophy
18
Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)". University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15614.
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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."Doctor of Philosophy
19
Kim, Sangah. "Western-style Painting in Pan-Asian Context: The Art and Historical Legacies of Kuroda Seiki, Li Shutong, and Go Hui-dong, 1889-1916". Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20672.
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From the late nineteenth century, works inspired by Western art spread to China and Korea through Japan. Thus, Western art came to be accepted in China and Korea as a reinterpretation of Japan’s development of Western art, rather than a direct transmission from Western sources. This act of reinterpretation went on to have a lasting effect on the practice of Western-style painters in East Asia with their own acceptance modes. This thesis provides a study of self-portraits and nude paintings, two categories of painting without precedent in East Asia prior to the late nineteenth century, created by Kuroda Seiki, Li Shutong, Go Hui-dong, and Kim Gwan-ho in order to illustrate how East Asian countries established their own versions of modern art.
20
Ho, Eliza. "From xin guohua (new national painting) to the founder of the Lingnan School : transformation of the representations of Gao Jianfu and his art by a regional discourse". Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1232554641.
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Castelló, Palacios Amparo. "De la tabla al lienzo. Evolución técnica del soporte pictórico en la Escuela Valenciana del Renacimiento pleno al naturalismo barroco". Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/162071.
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[ES] Por considerarse un periodo crucial dentro de la pintura de la escuela valenciana, es digno de una rigurosa investigación el estudio de la transición entre soportes pictóricos en el paso de la tabla al lienzo. La contribución de un abanico de pintores a esta evolución técnica en el panorama artístico valenciano marcará la producción de los siglos posteriores, perpetuando una nueva forma de pintar sobre lienzo que no terminará de reemplazar por completo a la tradicional pintura sobre tabla.
Una serie de particularidades técnicas y matéricas acompañarán este cambio, ya que en su afán por abrazar los nuevos recursos pictóricos, los maestros de la pintura valenciana del siglo XVI y dos primeros tercios del XVII introducirán nuevos procedimientos y materiales en sus obras. A su vez, la sensibilidad artística del momento virará desde la enraizada tradición juanesca plenamente renacentista, hacia el naturalismo y la búsqueda de la realidad inmediata que surgiría en València con la llegada de Juan Sariñena y Francisco Ribalta.
Profundizar en el conocimiento de la magnitud de este cambio técnico y estilístico desde varios enfoques pero principalmente desde el científico, gracias al acceso a un conjunto de pinturas que abarcan la producción de Juan de Juanes hasta la de Jerónimo Jacinto de Espinosa, ha permitido reconstruir la manera de trabajar de los principales talleres de pintura de este periodo. En efecto, el alcance de este estudio no habría sido posible sin una extensa labor de revisión de la literatura artística, siendo los tradicionales tratados, manuales y recetarios de pintura referencias clave en la interpretación de los datos que el método científico ofrece.
Las aportaciones que brinda esta investigación no solo confirman el esplendor de esta etapa de la pintura valenciana, sino que a su vez se constituyen como un apoyo sólido sobre el que fundamentar nuevas autorías y atribuciones y la puesta en valor por la conservación de nuestro patrimonio pictórico.[EN] For being considered a crucial period inside the painting of the Valencian school, the study of the transition between pictorial supports in the step of the wooden panel to the canvas is worthy of a rigorous research. The contribution of a range of painters to this technical evolution in the Valencian artistic panorama will mark the production of later centuries, perpetuating a new way of painting on canvas that will not finish completely replacing the traditional painting on panel. A series of technical and material particularities will accompany this change, since in their eagerness to embrace the new pictorial resources, the masters of Valencian painting of the 16th century and two first thirds of the 17th will introduce new procedures and materials in their masterpieces. At the same time, the artistic sensibility of the moment will veer from the fully Renaissance Juanes'deep-rooted tradition, towards naturalism and the search for the immediate reality that arose in València with the arrival of Juan Sariñena and Francisco Ribalta. Deepen the knowledge of the magnitude of this technical and stylistic change from several approaches but mainly from the scientific one, thanks to access to a set of paintings that include the production from Juan de Juanes to that of Jerónimo Jacinto de Espinosa, has allowed to reconstruct the way of working of the main painting workshops of this period. Indeed, the scope of this study would not have been possible without extensive work review of the artistic literature, being the traditional treatises, manuals and recipe books of painting key references in the interpretation of the data that scientific method offers. The contributions that provide this research not only confirm the grandeur of this stage of Valencian painting, but at once they constitute themselves as a solid support on which to base new authorships and attributions and make the enhancement for the conservation of our pictorial heritage.
[CA] Per considerar-se un període crucial dins la pintura de l'escola valenciana, és digne d'una rigorosa investigació l'estudi de la transició entre suports pictòrics en el pas de la taula al llenç. La contribució d'un ventall de pintors a aquesta evolució tècnica en el panorama artístic valencià marcarà la producció dels segles posteriors, i perpetuarà una nova forma de pintar sobre llenç que no terminarà de reemplaçar per complet la tradicional pintura sobre taula. Una sèrie de particularitats tècniques i matèriques acompanyaran aquest canvi, ja que en el seu afany per abraçar els nous recursos pictòrics, els mestres de la pintura valenciana del segle XVI i dos primers terços del XVII introduiran nous procediments i materials en les seues obres. Alhora, la sensibilitat artística del moment virarà des de l'arrelada tradició joanesca plenament renaixentista, cap al naturalisme i la cerca de la realitat immediata que sorgirà a València amb l'arribada de Joan Sarinyena i Francesc Ribalta. Profunditzar en el coneixement de la magnitud d'aquest canvi tècnic i estilístic des de diversos enfocaments però principalment des del científic, gràcies a l'accés a un conjunt de pintures que comprenen la producció des de Joan de Joanes fins a la de Jeroni Jacint d'Espinosa, ha permés reconstruir la manera de treballar dels principals tallers de pintura d'aquest període. En efecte, l'abast d'aquest estudi no hauria sigut possible sense una extensa labor de revisió de la literatura artística, sent els tradicionals tractats, manuals i receptaris de pintura referències clau en la interpretació de les dades que el mètode científic ofereix. Les aportacions que brinda aquesta investigació no sols confirmen l'esplendor d'aquesta etapa de la pintura valenciana, sinó que alhora es constitueixen com un suport sòlid sobre el que fonamentar noves autories i atribucions i la posada en valor per la conservació del nostre patrimoni pictòric.
La tesis doctoral que aquí se presenta fue llevada a término gracias a una serie de ayudas que han sido indispensables para esta investigación. En primer lugar, la concesión de una beca de carácter predoctoral con una duración máxima de tres años (01/07/2014 - 30/06/2017) integrada dentro de las Ayudas para la contratación de personal investigador de carácter predoctoral, programa VALi+d (DOCV núm. 7081/02.08.2013) financiadas por la Consellería de Educación, Cultura y Deporte de la Generalitat Valenciana. Por otra parte, los estudios analíticos derivados de este trabajo se incluyen en el marco del proyecto de investigación del Ministerio de Economía, Industria y Competitividad (MINECO) CTQ2014-53736-C3-01-P sobre la Aplicación de las técnicas nanoelectroquímicas y biotecnologías en el estudio y conservación del patrimonio en metal, cofinanciado con fondos FEDER y adscrito al Programa Estatal de Fomento de la Investigación Científica y Técnica de Excelencia, Subprograma Estatal de Generación del Conocimiento.
Castelló Palacios, A. (2021). De la tabla al lienzo. Evolución técnica del soporte pictórico en la Escuela Valenciana del Renacimiento pleno al naturalismo barroco [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/162071
TESIS
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Litwinowicz, Michel. "Rome et Naples, deux écoles de nature morte au XVIIe siècle et leurs échanges". Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP034/document.
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L’école romaine et l’école napolitaine de nature morte comptent au XVIIe siècle parmi les plus importantes dans la peinture européenne. Pendant tout le Seicento, elles sont restées étroitement liées, en multipliant les tableaux de fleurs, fruits, légumes, poissons, gibiers, sous-bois.... La thèse étudie l’évolution de ce genre à Rome et à Naples et les resitue dans le vaste tissu des échanges culturels et stylistiques entre ces deux capitales. Elle analyse la place de la nature morte dans le marché de l’art (circulation, marchands, prix, estimations) et dans les collections. Le goût de mécènes variés pour ces tableaux est étudié. Des comparaisons formelles entre les œuvres de différents peintres, comme Mario dei Fiori et Paolo Porpora, Michelangelo Cerquozzi et Giovanni Battista Ruoppolo ou Giovanni Battista Recco et Gian Domenico Valentino sont effectuées. On explique également le rôle d’Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci, et Andrea BelvedereThe Roman and the Neapolitan school of still-life painting are in 17th Century among the most important in Europe. During the whole Seicento, these two schools are closely tied and produced a large amount of paintings of flowers, fruits, vegetables, fishes, game, woodland Scenes (sottoboschi)… This PhD analyses the evolution of still-life painting in Rome and in Naples and places it in the numerous stylistic and cultural exchanges between these two capitals. The place of still-life painting in the art market (circulation of works, merchants, prices, appraisals) and in the collections is studied. The Patrons’ taste for these pictures is examined. We carry out stylistics comparisons between works by Mario dei Fiori and Paolo Porpora, Michelangelo Cerquozzi and Giovanni Battista Ruoppolo or Giovanni Battista Recco and Gian Domenico Valentino. We also investigate the role of Abraham Brueghel, Andrea Bonanni, Alessandro dei Pesci and Andrea Belvedere
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Festino-Cassata, Rafaella. "Les voies de la mélancolie et de la création chez Chaïm Soutine, le "violeur de couleurs" : radioscopie d'un acte de peinture". Thesis, Nice, 2013. http://www.theses.fr/2013NICE2036.
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Chaïm Soutine paraît à beaucoup comme l’un des peintres les plus énigmatiques de l’École de Paris. Il trouve place dans ce moment de rupture artistique qui initie le 20ème siècle et il porte bien malgré lui l’étendard de l’expressionnisme et de l’art juif. Pourtant, l’exigence de son « acte de peinture » (Cf. Daniel Arasse) va bien au-delà de toute revendication d’appartenance à une quelconque communauté. C’est le propre rythme de sa vie d’exilé et de renégat qu’il dépose sur l’espace de la toile dans un instant de peindre qui le transperce et dans un geste de couleur qui l’anime. Ce dernier peintre maudit relie sa vocation de peinture à une scène traumatique originaire et à l’expression d’un cri inachevé. Cette scène fait écho à une mélancolie structurelle qui le porte sur l’une ou l’autre des deux berges de Styx et lui fait affronter le vide de la Chose. Cette confrontation aura des issues diverses : il deviendra alors soit génie créateur soit assassin de ses toilesChaïm Soutine appears to many as one of the most enigmatic painters of the Paris School. He finds his own place in this moment of artistic rupture that initiates the 20th Century and carries well despite of him the banner of expressionism and Jewish art. However the requirement for this « act of painting » ( cf. Daniel Arasse) goes far beyond any claim of belonging to a any community. It is the pace of his life of exile and renegade he lodges on the space of the canvas in a moment of paint which pierces and in a gesture of colour which animates him. This last cursed painter links his vocation of painting to a native traumatic scene and to the expression of an unfinished cry. This scene echo to a structural melancholy that carries him on one and the other of the two banks of the river Styx and makes him face to the emptiness of the Thing. This confrontation will be various issues: he will become so either genius or assassin of his paintings
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Ahmadi, Bahram. "L'enseignement universitaire de la peinture en Iran : problèmes et influences". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10077.
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La peinture « classique » persane a perdu ses caractéristiques en se rapprochant de la peinture occidentale; puis à l'époque Qajar, avec le changement culturel et social, une nouvelle peinture est née tandis que, simultanément, une évolution apparaissait dans son enseignement. Ainsi l'art de la peinture se divise en « art mineur » et « art majeur », dont l'enseignement suit, pour chacun d'eux, un chemin différent. La peinture « réaliste », comme manifestation de l'art majeur, s'est installée à l'école de Ṣanīʿ-al-Molk puis à l'école Dār al-Fonūn pour arriver enfin à l'école de Kamāl-al-Molk qui est devenue la Faculté des Beaux-Arts en 1940. Dans ce contexte les étudiants apprenaient le « style » de Kamal-al-Molk et celui de certains mouvements occidentaux, mais d'une manière incomplète. A la même période, la miniature, c'est- à- dire « l'art mineur », était encouragée afin de représenter la splendeur ancienne. Dans ce processus l’«Administration Culture et Art » a été attentive à la « miniature » en tant que peinture « traditionnelle », ce qui lui a permis d'être enseignée à l’École Secondaire des Beaux-Arts, issue de l'Ecole des artisanats anciens. Dans les années 1330 Š./1950, cette administration a fondé la Faculté des Arts Décoratifs et les Biennales de Téhéran. Par la suite, la peinture s'est orientée avec plus d'intensité vers l'art « Moderne » occidental et en même temps vers l'art et les effets visuels traditionnels d'Iran. A cette époque où s'opérait aussi la modification du système de l’enseignement de la Faculté des Beaux-Arts, les peintres d'Iran étaient divisés en deux groupes: les partisans des styles occidentaux et les néo-traditionalistes. Ces derniers, pour obtenir l’identité, utilisaient les éléments traditionnels tout en suivant les « méthodes » de l'art moderne. En face, les partisans des styles occidentaux avaient commencé par des œuvres figuratives de style expressionniste et étaient arrivés à l'art abstrait. Ils s'étaient libérés eux-mêmes de la contrainte des traditions et des signes de l'identité iranienne. Parallèlement, les miniaturistes en tant que peintres « traditionnels », pour continuer à exister, utilisaient exclusivement les paramètres de l'art réaliste. En revanche, les diplômés de l'Université, artistes « modernes », utilisaient les éléments de l'art de la miniature quand ils voulaient exprimer l'identitéThe classical Persian painting lost some of its characteristics by opening up to the occidental painting. In the Qajar era, thanks to the cultural and social changes, a new painting was born with its new teaching methods. Thus the art of painting got divided into “minor art” and “major art”, each of them being taught in a different way. The realistic painting as a manifestation of the “major” art was first practiced in Ṣanīʿ-al-Molk art school, then in Dār al-Fonūn school and finally in Kamāl-al-Molk art school which in 1940, became the Faculty of Fine Arts. The students were studying both Kamāl-al-Molk style and some European styles, but incompletely. At the same time, the miniature, that is to say the “minor art”, was encouraged so that it represented the splendour of ancient times. In this process the Office of culture and art paid special attention to “miniature” as traditional painting. That is the reason why it has been taught in Secondary School of Fine Arts, descended from “Ancient Crafts School”. From 1330s to 1950s, this administration has established the Faculty of Decorative Arts and the Biennale of Tehran. Subsequently, the painting has turned more intensely towards modern occidental art, using at the same time the visual effects of traditional Iranian artistic creation. At that time when the educational system at the Faculty of Fine Arts was going through changes, the painters of Iran got divided into two groups: supporters of occidental painting and neo-traditionalists. The latter, in order to find their own identity, use some traditional elements applying, at the same time the methods of modern art. The supporters of the occidental styles started with figurative painting of the expressionist style and ended up in abstract art. They freed themselves from the constraints of the traditions and symbols of Iranian identity. On the other hand, in order to continue to exist as so called “traditional painters”, the miniaturists use only the parameters of realistic art. However, when the university graduates, the modern painters wanted to express their cultural identity, they used the elements of the art of miniature
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Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /". Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.
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Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references.Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.
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Langley, Jessica Danielle. "THE AWW". VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1360.
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Jessica Langley's work examines animals and nature through various media and form, including watercolor and oil painting, digitally manipulated photography, both large and small scale drawing, and various combinations of each. The work has explored narrative and emotional aspects to more mystical and ecological interpretations. The current body of work settles into banal and familiar interactions with animals, or more specifically the house cat and its accoutrements. Each element of the body of work engages specific concepts that developed out of the American landscape tradition and assimilates the banal subjects into a formal framework. The subjects are monumentalized and romanticized in order to question, not the importance of the objects, but the relevance of the sublime.
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Panbehchi, Michael J. "The Triumphs of Alexander Farnese: A Contextual Analysis of the Series of Paintings in Santiago, Chile". VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3628.
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This dissertation examines a series of nine paintings depicting the battles of Alexander Farnese in Flanders created by the Cuzco School of Painters in eighteenth-century Peru. This research asks why and how paintings depicting sixteenth-century European battles were meaningful in the eighteenth century. Due to an absence of archival documentation on the authorship, production and patronage of the series, the research method is contextual. Starting with a formal and iconographic analysis of the paintings centered on a comparison between the paintings and the engravings upon which they are based, differences in the use of space and the conspicuousness of individual elements representing opposing forces are studied. These issues are then regarded contextually by way of an examination of the visual characteristics of the Cuzco School, the history behind the creation of the original engravings and the political and social circumstances extant at the time of the creation of the paintings.
Building on previous scholarship, this research shows that attribution to the Cuzco School of painters is likely correct given the formal qualities of the paintings. It is possible that the stylistic characteristics of the Cuzco School, which became very popular, served as a marker of place within the Empire in colonial America.
One of the main contributions of the dissertation is the identification of a seventeenth-century biography of Alexander Farnese, De Bello Bélgico as the book in which the engravings that served as the sources for the paintings were published. These engravings served as the basis for all of the depictions of Alexander in colonial Latin America. Finally, the paintings were created during the reign of the first Bourbon king of Spain and served to foster a sense of continuity at a time of transition. The series would have been meaningful in eighteenth- century Chile due to its militarization, which continued throughout the colonial period. The use of space and the clarity with which opposing forces are depicted in the paintings left no moral, military or political ambiguities regarding the mission of the greater Spanish Empire.
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Dochy-Jacquard, Amélie. "Cliché, compassion ou commerce ? : les représentations des Irlandais par le peintre écossais Erskine Nicol, de 1850 à 1900". Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20100.
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Après un séjour en Irlande de 1846 à 1850, le peintre écossais Erskine Nicol (1825-1904) représenta les Irlandais dans la plupart de ses tableaux. Il remporta un franc succès à la Royal Scottish Academy (Édimbourg), puis à la Royal Academy (Londres). Nous analyserons les raisons d’une telle popularité en adoptant, entre autres, une méthode issue des études culturelles, montrant que Nicol adapta les préjugés scientifiques de son temps ainsi que les clichés sur les Irlandais afin de créer son iconographie de l’Irlande. Au-delà des portraits flatteurs des paysannes irlandaises, Nicol peignit aussi de nombreuses caricatures, suggérant qu’il était tributaire des idées impérialistes de l’époque. Pourtant, sa peinture demeure ambivalente : certaines toiles, soulignant les injustices du système agricole irlandais géré par les Britanniques, expriment la compassion du peintre. Cette remise en cause de l’autorité gouvernementale au sein d’un genre artistique aussi normé que la peinture fut rendue possible par le style de Nicol, inspiré par les peintres hollandais du XVIIe siècle, par les tableaux de David Wilkie (1785-1841), par l’école écossaise et par celle du réalisme social, un courant qui exerça une grande influence sur la peinture narrative de Nicol. Cependant, le réalisme de sa peinture fut limité car l’artiste devait vendre ses toiles pour vivre. On tentera de cerner les motivations de Nicol, pour comprendre si elles sont liées à un goût particulier pour les stéréotypes, à sa compassion pour les Irlandais ou à ses ambitions commerciales. La circulation de ses œuvres dans des expositions locales et internationales était souvent facilitée par les marchands d’art qui investirent dans ses toiles pour les revendre, ou même les reproduire sous forme d’imprimés, qui furent produits par milliers entre les années 1850 et la mort de l’artiste, ce qui contribua à faire de Nicol un peintre majeur de son époqueAfter a stay in Ireland between 1846 and 1850, the Scottish painter Erskine Nicol (1825-1904) represented the Irish in most of his artworks. He was particularly successful at the Royal Scottish Academy (Edinburgh), and at the Royal Academy (London). This work investigates the reasons for his popularity, using methods that are mainly derived from cultural studies, and showing that Nicol adapted the scientific prejudices of his time, as well as the clichés on the Irish, in order to create his iconography of Ireland. Beyond his flattering portraits of Irish peasant girls, Nicol painted numerous caricatures suggesting that he complied with prevalent imperialist ideas. Yet, his paintings are ambivalent: a few canvases, highlighting the injustices generated by the British regulation of Ireland’s agricultural system, convey the painter’s compassion. This questioning of British authority through painting, a highly codified artistic genre, was enabled by Nicol’s style, inspired by the Dutch Old Masters, by the artworks of David Wilkie (1785-1841), by the Scottish School, and by social realism, an artistic movement which had an important influence on Nicol’s narrative painting. However, his realism was limited because he needed to sell his paintings to survive. This work will try to understand his motivations and to see if they were linked to his fondness for stereotypes, to his compassion for the Irish or to his commercial ambitions. The circulation of his artworks in local and international exhibitions was made easier by the work of art dealers, who invested in Nicol’s canvases and in their reproductions. Thus, thousands of prints reproducing his artworks between the 1850s and his death in 1904 made Nicol a major artist of the Victorian era
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Bonney, Geoffrey, i Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.
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Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making.
Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups.
Artists skilled in community collaboration are able to produce art of value that transcends the usual judgements of worth. It gives people a licence to unfetter their imagination and then cooperatively be drawn back to a reachable visual solution.
If you engage with children in a community, you engage the extended family at some point.
The primary methodology was to produce a series of educationally valid projects at the Cherbourg State School that had a resonance into that community, then revisit and refine them where necessary and develop a new series that extended all of the positive aspects of them. This was done over a period of five years.
The art made during this time is excellent. The children know it, as do their families, staff at the school, members of the local community and the others who have viewed it in exhibitions in far places like Brisbane and Melbourne. This art and the way it has been made has been acknowledged as useful by the children, teachers and the community, in educational and social terms.
The school is a better place to be. This has been acknowledged by the children, teachers and the community
The art making of the last five years has become an integral part of the way the school now operates and the influence of that has begun to seep into other parts of the community.
Art needs to be taken from the margins and put to work at the centre.
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Pan, Tsung-Hao, i 潘琮皓. "Non-photorealistic Rendering : Interactive Chinese Painting of Yangzhou School Painting". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/8s973d.
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碩士國立臺灣科技大學
資訊工程系
106
We proposes a system that automatically generates Chinese painting style animation based on three-dimensional scenes. The system focuses on the rapid conversion of Chinese painting styles for 3D models, as a way to improve the consumption of human resources in Chinese painting animation production. In the system, the style conversion of the three-dimensional koi model is first carried out. We focus on the koi painting style of the new Yangzhou school representative painter Zheng ming Wang. First, we preprocessed the Chinese painting style brush strokes by the Navier Stokes Equation. Then uses the method of Suggestive Contour and Field Design Using Harmonic Functions to automatically find the contours and fin stripes from the 3D model. Next, we automatically generates watercolorized model texture using Level-of-Detail Abstraction. Finally we uses Repeat Texture Pattern to automatically generate scale maps, and completes the conversion of 3D model to 2D Chinese painting style. In the part of the interactive Chinese painting style scene design, the system automatically renders other 3D models into the Chinese painting style through the method of Modified Toon Shader and Texture Watercolorization. In addition, the dynamic effects simulated by the Navier Stokes equation are used for ink stroke simulation. It can be automatically generated by the user inputs. Finally, our system integrates the Mass-Spring Model Ripple Simulation and the Navier Stokes equation for dynamic water flow simulation and creates interactive ripples in Chinese painting animation.
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Chang, Hsin-Yi, i 張欣怡. "The Synthesis of Lingnan School Painting". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/54823401418249993769.
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碩士國立交通大學
資訊科學與工程研究所
94
Since the beginning of twentieth century, the Lingnan School Painting is an important Chinese Ink Painting school. It's characteristic is based on the traditional Chinese Painting skill and Combined the skill of the western drawing. The subject matter of the Lingnan Painting is widespread, and it contains Birds and Flowers Painting, Beast Painting, Insect Painting and Fish Painting, etc. In this thesis, we focus on the embroidered fish drawing in the Lingnan Painting. Input a photo of embroidered fishes, we apply the brush strokes to the outline and simulate the water and pigment diffusion effects on paper to imitate washing skill. Therefore, user may generate the Lingnan Painting style easily without familiar with the complicated painting skills.
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徐煥光. "A study of Ling-nan school painting". Thesis, 1990. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22079CHU00045003%22.&searchmode=basic.
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Yang, Li. "Mirroring the Wu School: Ma Shouzhen's Orchid Painting". Master's thesis, 2010. http://hdl.handle.net/10048/1495.
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Ma Shouzhen (1548-1604), one of the most acclaimed courtesans at the Qinhuai pleasure quarters in the late-Ming period, is well-known for her orchid paintings in Chinese art history. This thesis explores the courtesan-painters success in the courtesan world and in the male-dominated history of Chinese art, with its focus upon the artistic interactions between Ma Shouzhen and her lifelong lover Wang Zhideng (1535-1612), an exponent of the Wu School literati painting.
This thesis argues that it was Wang Zhideng in particular who played a crucial role in constructing the courtesans image and position in history. Through Wang Zhidengs interventions, Ma Shouzhen played an intermediary role in the dissemination of art theory advocated by the Wu School artists. The acceptance and popularity of Ma Shouzhens orchid works in the history of Chinese painting mirrors the prominent position of the Wu School in this field.East Asian Interdisciplinary Studies
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Wu, Kung-Chun, i 吳侊峻. "The Painting of Jiaxing School in Qing Dynasty". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/74812446624586510437.
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Huang, Chung-Chih, i 黃崇智. "Digital Classroom Environment for supporting painting course in elementary school". Thesis, 2006. http://ndltd.ncl.edu.tw/handle/39450868549519264414.
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碩士元智大學
資訊工程學系
94
Art education plays an important role in the mental development of children. It could not only make children develop the potential they already have but also help the integrity of their personality development. Hence, art education is significantly involved in the basic education of children. However, the visual arts class in the field of arts and humanities in the strategy of nine-year joint curriculum brings about some problems between teachers and students because of the system and of the real situation: the confinement of a teacher who demonstrates to students how to do something in a traditionally teaching way, the property of traditionally teaching media, and the problems for students to discuss, inspect, and then learn from other students’ works among themselves. In this study, I design a Digital Classroom Environment (DCE) where Table PC, wireless lanes, a software system, and the arrangement of course contents are integrated in order to offer learning assistance to teachers and students. In addition, this Digital Classroom Environment (DCE) could lessen the difficulties which are faced by a teacher when he or she is teaching in a visual arts class. Moreover, it could make students learn more effectively. One teacher and five students in the grade five of an elementary school are taken as subjects in this study. Then I put the system of my study into practice in the Digital Classroom Environment (DCE) in the art curriculum. Moreover, the content of this experimental class is sketching. As for in the aspect of the response of teachers and students, they confirm the value of the Digital Classroom Environment (DCE) in art education.
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"Hyper Real: Painting And The Synthetic Image". Tulane University, 2014.
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Chen, Shu-Chen, i 陳淑貞. "A Study on Image of Famous Painting—by Elementary School Students". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/23825757876121817808.
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碩士大葉大學
設計暨藝術學院碩士在職專班
99
This research took ten westerrn painters’ masterpieces as research object, and conducted questionaire upon elementary school students using image diction, in order to find out what elementary school students felt about painting works. This research was done with ten western painters’ works, semantic difference method, eight sets of image adjectives, and five grade overall scale to complete evaluation. The research was concluded with SPSS 12.0 statistic analysis software to show what elementary school students felt about painting works. The followings were the research conclusion: 1. Although in compulsory elementary school education there were art and humanity classes, very few students attended after-school talent classes. This indicated that the respondent family payed little attention on art education. 2. The vocation of students’ parents and time students spent on after-school talent classes contributed to the differences of aesthetic recognition development. This showed that family education’s influence was more prominent than school education in recognition development. 3. About the works of Sula, Cezanne, and Miller, students demonstrated their preference in image of likeness, beauty, cuteness, abundance, and affability. In contrast, the abstract works of Picasso, Gauguin, and Layton made students feel of dislik, ugliness, and vulgarity. These corresponded to the second stage of aesthetic development in evaluating painting works only with “likeness”, “realism”, and “exquisite skill”.
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蔡芳宜. "Explore the Primary School Students’ Cognitions about Ocean Concepts from Painting". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/qpa5ap.
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碩士國立高雄師範大學
科學教育暨環境教育研究所
106
The intention of this research was to investigate the ocean concept of elementary school students with their drawing. The objects of the research were the students of the 14 elementary schools in southern Taiwan cities (Kaohsiung, Pingtung and Taitung). The method used in this research was questionnaire survey. Through in-depth interviews and ocean concepts questionnaires (children’s drawing paper), the purpose of study is to understand that association between demographic characteristics (gender, grade, waterfront area, urban or suburban) and elementary school students’ ocean concepts. The ocean concept questionnaire (drawing paper) required students to finish drawing “ocean that you know” in 30 minutes, and give a title and describe their own ocean concepts and experience afterwards. A total of 30 valid Semi-structured in-depth interview questionnaires and 800 ocean concepts questionnaires were acquired. Data were analyzed through SPSS（Statistical Package for Social Science）and the statistical approaches used in this research included cross tabulation and Chi-square test. Chi-square tests were used to analyze the differences between demographic characteristics and ocean concepts. The results showed that only “habitation (waterfront areas or not)” was statistically significant, which meant place of residence was related to children’s ocean concepts. Children lived in non-waterfront areas were higher in the cognition of “natural ocean” category, while children lived in waterfront areas were higher in the cognition of “concious ocean” category. No matter the children lived in waterfront areas or non-waterfront areas, they were all higher in the cognition of “natural ocean” than “concious ocean”. Under these circumstances, we knew that children’s ocean concepts were mainly about concrete marine resources and marine ecology, abstract ocean concepts (marine conservation, marine exploiting and marine culture) were obviously insufficient, which may take a substantial period of time to cultivate. The in-depth interviews found that students' cognitions of "natural oceans" were generally high, but the cognitions of "conscious oceans" were generally inadequate, especially the cognitive aspects of "marine culture." Based on the investigation and analytical results of this study, relevant opinions and suggestions were proposed. It is hoped that the research could serve as reference for the promotion and follow-up research of Marine Education Course in the future.
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Finkel, JANA. "GERRIT DOU’S VIOLIN PLAYER: MUSIC AND PAINTING IN THE ARTIST’S STUDIO IN SEVENTEENTH-CENTURY DUTCH GENRE PAINTING". Thesis, 2008. http://hdl.handle.net/1974/1480.
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This study is an examination of Gerrit Dou’s Violin Player (1653, Liechtenstein, Vaduz Castle, Princely Collection). The painting is a visual testimony to Dou’s manual skills and trompe l’oeil manner of painting in his own innovative fijnschilder painting style. The composition incorporates and reinvents devices from a variety of sources from portraiture, genre painting, and emblem literature, such as the arched niche window framing the violinist. The work demonstrates the connection between music and painting in the relationship between the violinist and the background setting of an artist’s workshop. Through an iconographic analysis of works depicting the artist in the studio by Dou and his contemporaries the correlation between music playing and painting becomes evident. In this context, this relationship acts as an important device in fashioning the painter’s image as an elevated and scholarly artist and brings to light the power of music as a mode of inspiration for the painter in the studio. Additionally, tobacco smoking, which appears in many seventeenth-century Dutch self-portraits, in the context of the studio, was also perceived as an inspirational tool for the artist, thus contrasting with smoking in genre scenes of the lower classes as a symbol of waste and idleness. The work, similarly to other Dutch seventeenth-century paintings, is not a realistic representation but a cleverly constructed image that acts as an allegorical master deception for the amusement and entertainment of an educated, upper-class clientele.Thesis (Master, Art History) -- Queen's University, 2008-09-24 23:56:10.869
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YI-JEN, WANG, i 王依仁. "A Study on Imagination in Painting of Senior Graders in Elementary School". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/96356880130508476080.
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碩士國立新竹教育大學
藝術教育與創作碩士班
99
This study aims to illustrate how imagination functions in the painting of sixth graders in elementary school. 35 sixth graders are assigned to keep track of their creative experiences while doing eight pieces of imaginative painting. The process, the pattern, the characteristics of imaginative activity and the factors affecting imagination are observed and analyzed. The results of this study are listed as follows: 1. The implementation of imagination in the creative painting of sixth graders is divided into three phases: (1) inception of imagination, (2) modification of imagination and (3) termination of imagination. Imagination is implemented either through divergent thinking—generating creative ideas by exploring many possible solutions, or through convergent thinking—following a particular set of logical steps to arrive at a correct solution. 2. Imagination applied in the creative paintings of sixth graders is characterized by association by external similarity with relational thinking and creative recombination of existing elements. Those paintings are infused with popular cultural elements, such as cartoon, games and TV programs. 3. There are internal and external factors affecting imaginative activity. 4. Whether the topics assigned are limited or open shows different levels of influence on sixth graders’ interpretations of imagination. They make the most obvious differences in the patterns of thinking and in the disparity between imagination and the actual works created.
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CHUNG, CHIA-CHUN, i 鍾佳君. "The Effect of Mandala Painting on Junior High School Students with Emotional Disturbance". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/80780758394423904096.
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碩士國立高雄大學
運動健康與休閒學系碩士在職專班
105
Art therapy is a creative method of expression used as a counseling and guidance technique. Through creating art and reflecting on the art products and processes, people can increase self-awareness and improve their physical and mental well-being. Mandala painting is simple and easy to use, is spontaneous, does not require special training, and is not affected by cultural differences, it is often regarded as the intervention of art therapy. Schools can use mandala painting to help emotional distress students, while allowing students enjoy the fun of life. The purpose of this study is to evaluate the effects of mandala painting on students with emotional disturbance. A quasi-experimental design was conducted using a single group, pre- and post-test. Eight students who were identified by counseling office of a junior high school of Kaohsiung underwent art activity intervention. The intervention lasted for 12 weeks, once per week, and 45 minutes per week. Data were collected before, during, and after the intervention. Zheng’s (2002) revised version of Scale for Assessing Emotional Disturbance (SAED), including 5 dimensions with 39 items, was used as an evaluation measurement. Wilcoxon symbol level test was used to analyze whether there was a significant difference in the pair of sample scores of SAED. In-depth interview with identified students and their mentors were conducted at the end of the intervention to further understand the effect of the intervention. The results showed that the total score of SAED were found a decreasing trend during intervention process. In addition, the scores of five major dimensions of "no ability to study", "interpersonal problems", "improper conduct", "unhappy or depressed" and "physical symptoms or fear" were significantly lower after the intervention, indicating that the degree of emotional disturbance of the identified students was improved significantly. Finally, findings in this research were discussed and implications and suggestions for school counseling work and future study were also provided.
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Chang, Wan-Yung, i 張婉渝. "The impact on learning attitude and outcome when applying Van Gogh’s painting technique into a nail painting instruction in a senior vocational school". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/02399550223819499691.
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碩士國立屏東科技大學
技職教育研究所
102
This study aims to probe into the effect of applying Van Gogh technique in vocational school manicure instruction on students’ learning attitude and learning effectiveness. Experimental teaching was conducted, and a questionnaire survey was conducted using the self-developed “Questionnaire of manicure learning attitude and learning effectiveness of Department of Fashion Styling”. The data were collected from the semi-structural questionnaire, students’ imitation learning and work analysis. The subjects were 34 students in Department of Fashion Styling of a vocational school in Kaohsiung City. The collected data were analyzed with descriptive statistics and one sample t-test. Text analysis was conducted on semi-structural questionnaire, students’ imitation learning and work review. Based on the results, the findings are as follows: 1. In the scale on students’ learning attitude, the mean is above median and is significant. The mean of “I enjoy sense of achievement to learn manicure” is the highest. 2. In semi-structural questionnaires on students’ learning attitude, few students’ learning changes from frustration, lack of confidence to stress resistance. However, most of students are frustrated with related courses. Factors of students’ emotion include personal motivation, learning attention, personal responsibility, etc. 3. In the scale on students’ learning effectiveness, the mean is above median and is significant. The mean of “I learn more about life of Van Gogh” is the highest. 4. As to students’ imitation learning of learning effectiveness, they are interested in imitation of works of Van Gogh, and can use the technique instructed in courses. 5. In work analysis of students’ learning effectiveness, students are good at color in application of Van Gogh technique in creative works; however, their concept about Van Gogh technique is weak. 6. Enhancement of manicure creative instruction model and learning attitude, learning effectiveness influence students’ following results. 7. This study suggests one-year practice in Department of Fashion Styling to enhance students’ practice capacity and accomplish effective learning.
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Wu, Chen-te, i 吳建德. "The Viewpoint of Aesthetics for Painting Therapy To Interprete the Effects of Painting Therapy in Ming-Yang High School with the Viewpoint of Aesthetics". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/64633037504022096887.
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碩士南華大學
美學與藝術管理研究所
93
Through painting, the image of one’s mind could be expressed and explained freely. In which way one can reveal one’s subconscious as possible as he can from more various sides. And while facing and explaining one’s own painting, he could find out his own subconscious by many aspects. More even, during explaining, it makes the suppressed subconscious to be understandable. Also, one can figure out various kinds of oneself deeply. This article was tried to combine some parts of theory from Lacane’s and Foucault’s which belonged to the post constructurelism. It was to search for any possibility of unknown ourselves by deconstructing the formal concept of language. Then, I tried to use aesthetics theory to construct the reaction to painting for clients and the limit of comprehending oneself while facing the painting. At last, describing how to make oneself changed through the final therapy from Gadamer’s perspective. The different frame of things decides the possibility of the features of something exhibiting. What researcher of aesthetics attempts to exhibit is how to observe the performance of painting therapy? One is how the client expresses his （or her ）mind while in painting and how possible while he （or she） facing the painting. On the other hand, the more we want to reflect is how the researcher himself （or herself）observes the process of the whole study. Under the frame of the therapy, I’d like to exhibit how the process of the therapy was operated and what features the researcher presented. We endeavored to offer the particular presentation which the researcher himself （or herself）wants to, describe the details of what the researcher’s perspective considered in the theory. Let those who work as counselors confront the client with more perspective aspects.
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Clay, Trevelyan. "Studio report from Painting Workshop : The Trees On Your Mound". Thesis, 2004. http://hdl.handle.net/1885/155286.
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Po-chou, Cheng, i 鄭博州. "The Teaching of Ink-Painting for Art-Gifted Class Students in Junior High School". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/21260697494257250833.
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碩士國立彰化師範大學
藝術教育研究所
93
The Teaching of Ink-Painting for Art-Gifted Class Students in Junior High School Abstract The study intends to develop an appropriate teaching approach of ink-painting which is suitable for art-gifted class students in junior high school. This approach not only can promote these art-gifted students’ abilities to know and appreciate modern ink-painting art works but also can improve their skills and interests in creating ink-painting works. On the basis of the research purpose, the research questions to be addressed are as follows: 1. What is the development of contemporary ink-painting and what is its significance to the teaching of ink-painting as part of the curriculum designed for art-gifted classes in junior high schools? 2. What is the appropriate teaching approach of ink-painting for art-gifted class students in junior high school? 3. How can teachers improve the students’ skills and promote their interests in creating ink-painting art works? According to the ways of creating ink-painting works and the ideas towards contemporary ink-painting, there are three main concepts of creating ink-painting art works: 1. Using ink as a tool to create art works. 2. Expressing oneself through the process of ink-painting creating. 3. Making records which show the phenomena happening in our society and environment. In the study, these three concepts are used to construct and design the three teaching units. The major findings in this study were summarized as follows: 1. The teaching of ink-painting for art-gifted class students in junior high school should co-operate with the development of contemporary ink-painting in Taiwan, and with the current trends of art education in the world. Since ink-painting was a special kind of art in our culture, the value of ink-painting creation in Taiwan had to be emphasized. Therefore, teachers ought to make more effort on the teaching of ink-painting while teaching art-gifted students because these students had great potential on art creation. These students were expected to express their feelings towards their countries, to co-operate with international trends, and to construct a unique new Taiwan image in their art works. 2. The theories of curriculum design for gifted students had to be included in the teaching of ink-painting for art-gifted students in junior high school. Also, teachers should consider students’ cognitive development stages, things happening in students’ everyday life, and topics connected with the society while designing the curriculum. Furthermore, technology, like using computers, could be put into consideration of curriculum design. 3. The teaching of ink-painting for art-gifted class students in junior high school had to be focused on both basic skills and various materials. Students gained more experiences of ink-painting creation from the projects of material testing, self-expression and news reading instead of endless skill practice. They were inspired, not limited. Therefore, they had higher motivation in learning how to create ink-painting art works. In conclusion, the results of this study revealed the positive findings: the teaching approach, which was designed based on the current trends of ink-painting creation and of art education, worked well since it promoted the abilities of creation of the art-gifted class students in junior high school and increased their interests in ink-painting creation. It was hoped that the results of the study could provide future researchers a resource of references.
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"Grace Hartigan and Frank O'Hara: Partnership, Painting, and Camp in the New York School". Tulane University, 2019.
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"PAINTING A PICTURE: WHY DIVERSE PARENTS CHOOSE CATHOLIC FRENCH IMMERSION FOR THEIR SCHOOL AGED CHILD". Thesis, 2015. http://hdl.handle.net/10388/ETD-2016-07-2171.
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ABSTRACT
In this narrative inquiry, I examined parents’ stories to gain insight into their journey toward selecting a French Immersion Catholic stream of education for their Kindergarten-aged children. As a teacher, I first noticed a pronounced shift in the parents who were choosing Catholic French Immersion for their school-aged children and, then, as I formed close relationships with a diverse range of parents, I became cognizant that many families were deeply rooted in a faith other than that of Catholicism. With my curiosity piqued, I engaged in research to explore what these diverse parents believe Catholic French Immersion schools have to offer them. Utilizing both Joseph Schwab’s (1973) notion of curricular commonplaces and Allen’s (2007) web of caring as a framework for my research, I demonstrated how important it is that educators invite parent knowledge (Pushor, 2011, 2013) onto the school landscape as they attend to parents’ intentions in making particular school choices for their children.
Using a metaphor of painting, and to paint both individual stories and a triptych of stories to capture parents’ influences, thoughts, hopes and dreams for their children that led them to Catholic French Immersion, I chose narrative inquiry methodology. I utilized field texts gathered from three sets of parents, including stories, journals, field notes, letters, conversations, and family stories, to paint an intimate understanding of the research puzzle.
In terms of Catholic education, these families value a faith-based school environment but for different reasons. The Nelson family, rooted in Baptist faith, felt it was important that their child be schooled alongside other faithful children and also believed that Catholic schools inherently value the sanctity of each child. The Padrique family, newcomers to Canada, assumed that Catholic education would teach their child important values and that parents in the Catholic system would share parenting philosophies similar to their own. The Larocque family saw that through learning Catholic doctrine in school their children would be provided an opportunity to be exposed to, and to accept or reject, a system of beliefs not taught to their children at home.
In terms of French Immersion, the families understood that their children’s ability to speak French would enhance their employment opportunities in the future. Both the Nelsons and the Padriques further viewed French Immersion as a program choice for the more academically inclined. Similarly, the Larocques, whose children have Treaty Status, understood French Immersion as a more challenging program where children become accustomed to working hard. This research will help deepen educators’ understanding of parent motivations for choosing this stream of education and more fully attend in their practice to parent intentions and parent knowledge.
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Lin, Yi-Chuan, i 林益全. "The Studies of Children Painting - Case of Fine Art Classes to Children and Their School". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/49f68r.
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碩士國立雲林科技大學
視覺傳達設計系
102
This research is for the purpose of discusses the adjustment of teaching material and teaching method, when we compare child painting creation, we could find the different on work of art. The students which are child art class are 36 child as the object of study, divides into two group, one is the kids group, another is the elementary school student from August, 2013 to January, 2014, carries on for six month observation. It shows different of two groups , through subject, teaching guide and all kinds of teaching property and teaching material to observe, interview and collect work of art then to analysis discrepancies. Below are results： 一、The different teaching material and teaching method can make child's painting creations present a different appearance. When we adopt oral explanation with Kid team, their work of art will include the concept, fuzzy, and likely image. When we give picture or model, we could find their work of art will appear the detail of features, color and characteristic. It’s work simple, unadorned and fun and it could present the objective. In the elementary, the junior class child work of art like kid team, but it will show more realistic. Middle grade child will said their thoughts and we could find the work of art will appear multivariate and new; when we give picture or model, the work of art will appear realistic. 二、Different teaching material and teaching method guide child's painting creations present the diverse performance method. According to the teaching method and the subject, painting uses the compound material. It could leads child to carry on the creation. It shows richly and multivariate performance. 三、Different teaching material and teaching method can develop painting confidence, viewpoint and creativity in response to child's need. Through imagination, curriculum of picture book story, the children can use a kind of the most pure, direct, self expression of the mode carry on creations of add, displacement, make it to conform to own imagination world . 四、Oral guideline and picture observation are the best guide for child painting creation. When we lead child to make creation, use oral guideline with picture observation, so that child could establish a loop of watching, thinking and painting.
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Hsiao, Hui-Ju, i 蕭惠如. "An Action Research on Teaching Modern Ink Painting to First Graders in the Elementary School". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/37002351848190167385.
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碩士國立嘉義大學
視覺藝術研究所
94
This study employed literature review and action research to understand how the idea of modern ink painting applies to art education and teaching. Furthermore, teaching experiments were carried out to enable the students to experience different kinds of ink painting learning, to enhance their interest in learning ink painting and to probe into the effect made by first graders in using the idea of modern ink painting creation on art teaching. According to the verification and reflection of the theory and practice, the method of improving the effect of ink painting teaching is discussed to develop the idea of modern ink painting and teaching principle of ink painting to lower graders. The result of this study indicates: 1. The representation style and creation form of modern ink painting is diversified and interesting. Children show complete interest in this free art creation and understand its cultural values. 2. According to relevant theories, ink painting teaching design could be developed in the fields of arts and humanity for elementary school students. 3. To apply the modern ink painting creation to the teaching, proper courses must be designed according to children's stages of artistic development and considering the appropriateness of teaching materials and techniques. 4. Under different strategies and activities of ink painting teaching, students have achieved positive results in learning. 5. Application of appropriate teaching methods to ink painting teaching can increase the interest in learning and enhance children』s confidence in learning.
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Katzin, Jeffrey James. "Experimentation, diversity, and feeling : Adolph Gottlieb’s career in painting reconsidered". 2013. http://hdl.handle.net/2152/21233.
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Adolph Gottlieb’s (1903–1974) mature career in abstract painting has been described in previous scholarship in terms of three phases: the time of his Pictograph paintings, beginning in 1941; a period of transition primarily involving his Imaginary Landscape paintings, beginning in 1951; and the time of his Burst paintings, from 1956 until his death. Dividing the artist’s career into early, transitional, and late periods has provided scholars with a clear and tidy narrative as a basis for interpretations of his work. However, in this thesis I argue that this schematization, created in hindsight, has obscured the character of Gottlieb’s working process as it occurred in real time. By nature, Gottlieb would not have been content to produce only a few narrow varieties of painting over a thirty-year period. I thus advance a new conception of Gottlieb as an inventive and constantly adventurous artist.
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To make these claims, I examine Gottlieb’s written and spoken statements in order to define his central terminology (words like “feeling” and “self-discovery”) and to investigate his interests in myth and alchemy. I find that his work in painting was deeply intuitive and literally experimental—Gottlieb could not predict whether a painting would succeed until he had completed it, and so his career was an iterative process of painting, observing the results, and then painting again. I go on to consider Gottlieb’s paintings themselves as a record of how this experimental process functioned in practice. By presenting his diverse body of work in its full breadth, I demonstrate that the artist was not limited by his major styles, and indeed that he always presented himself with multiple possibilities. I conclude that Gottlieb’s work remains vital because he worked without an end goal or predetermined outcome in mind, and instead gave himself over to a continuous process of creativity and discovery.text