Дисертації з теми "Abstract 20th century"
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Heron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.
Повний текст джерелаRampin, Dantas Neves. "A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284696.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou concepções advindas da pintura na composição técnica e estética em sua música. Para discorrer sobre este tema, a dissertação apresenta uma breve contextualização histórica da década de 50, do século passado, momento do encontro de Feldman com os pintores. Em seguida, apresentamos as concepções desenvolvidas por Feldman em sua música derivadas da pintura. Para tanto, apresentaremos análises que nos permitam compreender como estas concepções se concretizam musicalmente através da história notacional do compositor. Do ponto de vista metodológico a pesquisa se vale das declarações do próprio compositor, de pesquisas que abordam o trabalho composicional de Morton Feldman e da análise de obras. Priorizamos a análise da peça Crippled Symmetry, já que ela apresenta uma das notações mais originais produzidas por Feldman, o que nos inspirou a composição de Sombras Sobre o Encoberto 11, peça que apresentamos neste trabalho como resultado composicional desta pesquisa. Nas considerações finais, além do resultado de Sombras Sobre o Encoberto 11, discutimos como as concepções utilizadas por Feldman a partir da pintura pode ser amplamente explorada como base composicional singular.
Abstract: This research is about the relation between the music of the American composer Morton Feldman and the group of painters of Abstract Expressionism The New York School of Visual Arts - from the point of view of himself. It will focus the way Feldman developed concepts drawn from painting in the technique and aesthetics of his music. Thus the dissertation presents a historical account of the 1950s, when Feldman and the painters met. Then we present concepts Feldman drew from painting and developed in his music. We provide analyses which allow us to understand how such concepts work musically throughout Feldman's notational history. The method of this research is based on Feldman's statements, researches about his compositional work and the analysis of pieces. Crippled symmetry, whose notation is among the most original devised by Feldman, undergoes extensive analysis. It has also been the inspiration for the composition of our work Sombras sobre o Encoberto II, We present this piece as the compositional outcome of this research. In addition to this piece, the conclusion shows how the concepts Feldman drew from painting can be vastly explored as a unique basis for the composition of music.
Mestrado
Mestre em Música
Ferris, Natalie. "'Ludic passage' : abstraction in post-war British literature, 1945-1980." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.
Повний текст джерелаDraguet, Michel. "Genèse et naissance de l'abstraction de Kandinsky à Malevitch: essai de définition de la notion de Permière abstraction, 1911-1918." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213179.
Повний текст джерелаCraven, Michael P. "Abstract art and controversy : a case study of Louis Bunce's airport mural and other Portland art controversies." PDXScholar, 1997. https://pdxscholar.library.pdx.edu/open_access_etds/4296.
Повний текст джерелаKšanienė, Daiva. "Muzikinis Gyvenimas Mažojoje Lietuvoje ir Klaipėdos krašte iki 1940m. : Lietuviu̜ ir Vokieičiu̜ kultūru̜ sa̜veika [The musical life in Lithuania Minor and the region of Klaipėda before 1940 : the interaction of Lithuanian and German cultures], Diss., Vilnius 1998 [Zusammenfassung]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222480.
Повний текст джерелаYounge, James Gavin Forrest. "The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.
Повний текст джерелаThis dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.
Kšanienė, Daiva. "Muzikinis Gyvenimas Mažojoje Lietuvoje ir Klaipėdos krašte iki 1940m. : Lietuviu̜ ir Vokieičiu̜ kultūru̜ sa̜veika [The musical life in Lithuania Minor and the region of Klaipėda before 1940 : the interaction of Lithuanian and German cultures], Diss., Vilnius 1998 [Zusammenfassung]: Muzikinis Gyvenimas Mažojoje Lietuvoje ir Klaipėdos krašte iki 1940m. :Lietuviu̜ ir Vokieičiu̜ kultūru̜ sa̜veika [The musical life in Lithuania Minorand the region of Klaipėda before 1940 : the interaction of Lithuanian and German cultures], Diss., Vilnius 1998 [Zusammenfassung]." Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 174-179, 1999. https://ul.qucosa.de/id/qucosa%3A15529.
Повний текст джерелаAndrieu, Mélanie. "Une spécificité Cobra, les oeuvres collectives: émergence d'une pratique et exemplarité de Christian Dotremont." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209838.
Повний текст джерелаCe travail est structuré en trois points. Le premier établit une étude du contexte artistique et social des années précédent Cobra puis la mise en place du groupe. Le second aborde les années d’intense activité "officielle" du groupe, au service du collectif. Enfin, le troisième propose de suivre l’évolution post-Cobra des œuvres collectives et des recherches sur l’écriture et la peinture. / This thesis is a study of the Cobra movement through one of its characteristic components: the collective works. First of all it's about understanding the movement, its origins (three countries), its influences and its purpose of a free art, open, experimental, involvement with life. In a social after-war context, often politicized, Cobra defends collective action, notably defined in concepts of anti-specialism and inter-specialism. We should therefore underline the origins of this practice and undestand different aspects that it shows, in particular through publications, exhibitions or shared creations. The poet Christian Dotremont, leader and soul of Cobra, promotes cooperative work by collaboration and contributes to its development by stimulating artistic meetings. He is the purveyor and permanent "agitator" of this concept. The words-paintings that he creates with other artists, take part of his major thinking about writing and painting. This link interpellates a few Belgian artists like Pierre Alechinsky, but it fascinates Christian Dotremont who keeps experimenting on it, in order to reach what he calls the logograms, a remarkable fusion of painting and poetry, and a culmination of a life-time of research.
This work is structured in three parts. The first one draws a study of the artistic and social context of the years preceding Cobra and the setting up of the group. The second one talks about years of intense "official" activity of the group serving collective way of work. Finally, the third one offers to follow the post-Cobra evolution of collective works and researches about writing and painting.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
Barclay, Robert Leslie. "A critical analysis of actions taken upon historic musical instruments through the period of the early music revival from the beginning of the 20th century to the 1990s." Thesis, n.p, 1999. http://library7.open.ac.uk/abstracts/page.php?thesisid=3.
Повний текст джерелаDebrocq, Aliénor. "Le Surréalisme-Révolutionnaire et Cobra à l'épreuve de la violence: contribution à l'histoire des représentations." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209695.
Повний текст джерелаS’appuyant sur un certain nombre d’affirmations émanant des acteurs de Cobra comme des historiens ayant écrit sur le sujet, l’auteur s’est penché sur la question de la violence picturale et théorique au sein de ce mouvement. Picturale, par la propension des artistes à brouiller la lisibilité de la composition et des figures, par leur volonté de « faire brut » et enfantin, de « mal peindre », de maltraiter le sujet en le rendant méconnaissable, hybride, défiguré. Théorique, par un certain nombre de déclarations (pour la plupart, parues dans la revue Cobra) véhémentes, engagées, politiques, relatives au climat sociopolitique de l’après-guerre comme au contexte artistique et culturel contemporain.
Au cours des recherches, il est apparu que la violence de Cobra était plus ambiguë que ce qui avait été imaginé initialement. Elle relève en réalité d’une forme d’instrumentalisation émanant des acteurs, qui ont multiplié les effets rhétoriques, les attitudes et les déclarations allant dans ce sens, conduisant Cobra à user d’une violence « décorative » nettement instrumentée :un outil utilisé par les artistes dans la construction de leur image, de leur identité individuelle et collective. Cette piste a ainsi débouché vers d’autres résultats que ceux imaginés au préalable mais n’en a pas moins permis de réévaluer le mouvement sur le plan de l’histoire des représentations, en étudiant les stratégies développées par ses membres dans les œuvres et les discours. La mise en perspective critique de ceux-ci a permis de cerner la capacité rhétorique de certains membres de Cobra, qui ont valorisé l’image d’un mouvement artistique résolument « moderne », c’est-à-dire violent et revendicateur, tout en puisant leur inspiration dans certaines formes d’art primitives et brutes.
La thèse s’articule de façon thématique, autour de quatre pôles révélateurs des formes et du sens de la violence détectée dans les œuvres et les discours des Cobra :
Répondre à la guerre – Cobra face au siècle
Une violence générationnelle
Le primitif ou le jeu de la violence
Aspirations libertaires
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
德卡, Sagar Talekar. "“Zen and Taoism Influence on 20th Century Abstract Painting -- and Researcher's Art Creation Experience”." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/84207426211489177805.
Повний текст джерела國立臺灣師範大學
美術學系
101
First chapter focused on the introduction of Zen and Taoism philosophy by Eastern and Western viewpoints. Second part of this chapter investigates the literature review by number of books, novels, research papers, articles of Zen and Taoism philosophy, art influence on east and west. However, several painters from East and West have deeply influenced by this philosophy but there is very less information available about painting and philosophy connection. Some of literature are very important for this research and had details examination in this chapter. Second chapter Research background is constructed on Twentieth century artists, who can be safely said to be influenced by Zen and Taoism philosophy, were not interested in a photographic representation of an object but in interpreting its spirits. It has been Cosmo centric. Therefore this chapter examines western artists and their involvement and viewpoints and for Eastern mainly concern on Taiwanese and Indian artists works. Third chapter of significance and expected outcomes mainly focused on varied colors and abstract forms of Zen and Tao such as Enso, Yin-Yang, circle, square, triangular, spiral or (Kundalini). Therefore this Chapter is constructed on philosophical influence of Zen and Taoism by basic of line, calligraphy, color, techniques and styles by various artists. Fourth chapter is based on my own art experience and an influence of Zen and Taoism philosophy as well as the influence of abstract painters of 20th century. The guidance of my fine art professor Su Hsian-Fa and Hsiao Chong Ray, about collective unconscious, that all humans have common inherited archetypal and symbolic patterns of emotional and mental behavior which took me to the higher levels and in depth in abstract paintings creation inspired by Zen and Taoism Philosophy. Fifth chapter is main analysis of this research. It’s analyzed by number of artist of Europe and America. 20th century’s American artists explored the calligraphic brushstroke, which was an approach to abstract painting that focused on popular writings on Taoism and Zen and its ethics of direct action. American artists were searching beyond the limitations of their culture for motivation. Shodo, in general, served as inspiration to numerous Abstract Expressionist painters of the period. Japanese art and Zen Buddhism dominated in part because America’s political and economic ties with Japan were historically stronger than those with China or India. Especially European artists inspired by this philosophy and their composition were depending upon chance, random accident or highly improvisational execution, typically hoping to attain freedom from the past, from academic formulas and the limitations placed on imagination by the conscious mind. 20th century most of abstract art was spiritual in its origin and one of them was theosophy movement, it can compare with many of spiritual techniques in Eastern systems of spirituality, to compare the different meditation techniques of Zen and Taoism in this chapter. Conclusion is arrived on Zen Philosophy is constructed on Nothingness whereas Taoist philosophy is constructed on Empty mind therefore this research focused on the aspects of comparative philosophical and painting study and view but not religious view.
Coats, Elizabeth. "Organic growth and form in abstract painting." Phd thesis, 2012. http://hdl.handle.net/1885/151306.
Повний текст джерелаMessina, Philip. "Establishing 21st Century Expressionisim." 2014. http://scholarworks.gsu.edu/art_design_theses/148.
Повний текст джерелаPrice, Justine Dana. "Abstraction, expression, kitsch: American painting in a critical context, 1936-1951." Thesis, 2007. http://hdl.handle.net/2152/3391.
Повний текст джерелаChen, Ching-Hui, and 陳靜惠. "The Study of the Musicality in the Abstract Paintings of the Early 20th Century--from Kandinsky’s "Concerning the Spiritual in Art"." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/18060996403019264801.
Повний текст джерелаAdsett, Peter. "Beyond picturing." Phd thesis, 2012. http://hdl.handle.net/1885/155939.
Повний текст джерелаMladičová, Iva. "Jan Kotík 1916-2002 - monografie." Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-322931.
Повний текст джерелаMelicharová, Anna. "Viditelné a neviditelné v díle Josého Ángela Valenteho." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404455.
Повний текст джерела