Дисертації з теми "Glass art Australia History"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 дисертацій для дослідження на тему "Glass art Australia History".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
Beckman, Jeannine A. "Imported Glass Objects in the Bronze Age Aegean." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/215280.
Повний текст джерелаM.A.
A great deal of evidence exists in support of Bronze Age intra-Aegean trade, but the dynamics and material goods that made up these exchanges are still being explored. Initially, foreign glass most likely originated in Western Asia and Egypt. Recent excavations at the Minoan sites of Chryssi, Papadiokambos, and Mochlos have provided evidence of such trade on Crete. All three sites yielded glass beads that, judging by their rarity in the region, must have come from elsewhere. While glass artifacts such as those found on Minoan Crete are often assumed to be Egyptian in genesis, a Western Asian source has not been sufficiently ruled out. Based on their findspots, appearance, and our present understanding of shipping and trade in the Bronze Age Aegean, it is most likely that the beads from Chryssi, Papadiokambos, and Mochlos were manufactured in the Levant and arrived in Crete from the East.
Temple University--Theses
McCray, William Patrick. "The culture and technology of glass in Renaissance Venice." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290650.
Повний текст джерелаDenholm, Michael. "Art magazines in Australia, 1963-1990 : a study of values, influence and patronage." Thesis, Canberra, ACT : The Australian National University, 1994. http://hdl.handle.net/1885/139448.
Повний текст джерелаGibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.
Повний текст джерелаBerryman, James (Jim) Thomas. "From field to fieldwork : the exhibition catalogue and art history in Australia." Phd thesis, Canberra, ACT : The Australian National University, 2005. http://hdl.handle.net/1885/9528.
Повний текст джерелаEdamura, Taisuke. "Toward motional thinking: reflections on the movement of Gerhard Richter's glass works." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21922.
Повний текст джерелаL'usage de plaques de verre occupe une place notable dans la production artistique de Gerhard Richter (1932-). Ce mémoire propose d'examiner les diverses exploitations plastiques que Richter fait à partir du verre en portant une attention particulière aux implications liées au concept de « mouvement ». Ceci étant, c'est concurremment à l'analyse des écrits portant sur les œuvres de l'artiste que notre analyse s'ancrera. Méditant sur l'idée selon laquelle Richter opterait pour un (dés)engagment radical par rapport à la tradition picturale, le premier chapitre traite des avantages et des désavantages de l'utilisation par la critique de la notion de « double négation », à l'aune des implications ironiques. Tout en se référent à l'histoire du verre, le second chapitre se penche sur la « perspective picturale » immobile à partir de laquelle les œuvres de verre de Richter peuvent être immédiatement appréhendées. Enfin, poursuivant les réflexions déjà amorcées, le troisième chapitre s'intéresse au caractère fuyant du verre, à son large spectre de gestes qui le transforme d'un simple objet regardé en un dispositif vivant qui regarde la spectateur.
Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.
Повний текст джерелаParis, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
Повний текст джерелаGrey, Kaitlynn. "Grape Flasks of Third-Century Cologne: An Investigation into Roman Glass and Dionysus." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent152685668282561.
Повний текст джерелаRossi, Alana. "An archaeological re-investigation of the Mulka's Cave Aboriginal rock art site, near Hyden, Southwestern Australia." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1884.
Повний текст джерелаHarrington, Kaysie Marie. "The American Studio Glass Movement: A Regional Study of its Birth in Northwest Ohio." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1542125173303787.
Повний текст джерелаDunham, Amy. "Towards Collaboration: Partnership Between Indigenous and Non-Indigenous Australians in Art from 1970 to the Present." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1306498911.
Повний текст джерелаRen, Wei. "The Writer's Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930)." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17465116.
Повний текст джерелаHistory of Art and Architecture
Westwood, Jill. "Hybrid creatures : mapping the emerging shape of art therapy education in Australia." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/6318/.
Повний текст джерелаRyder, Marianne. "Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1096.
Повний текст джерелаBlackmer, Jessie. "Mice, Memory, and Medical history: A Personal Narrative." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1314909047.
Повний текст джерелаFarrell, Bethany Megan. "Gems for Her Crown: The Stained Glass Drum Oculi of Santa Maria del Fiore." Master's thesis, Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/233293.
Повний текст джерелаM.A.
The literature on the stained glass windows installed in the eight oculi of the drum of Santa Maria del Fiore are mainly found in the monographs of the four artists that provided the cartoons--Donatello, Lorenzo Ghiberti, Paolo Uccello, and Andrea del Castagno. Few studies have focused on the program in its entirety. This thesis will attempt to provide a more thorough understanding of the program. Analysis of the primary documents reveals how the windows functioned as part of the building and its liturgical and public life. In particular, the central argument is that Donatello's Coronation of the Virgin was a substitute for an altarpiece and the seven other windows act as subsidiary scenes that reinforce the primary window and its political and theological agenda.
Temple University--Theses
Wicks, Keren. ""Teaching the art of living" : the development of special education services in South Australia, 1915-1975 /." Title page, table of contents and abstract only, 2000. http://web4.library.adelaide.edu.au/theses/09PH/09phw6367.pdf.
Повний текст джерелаMeasell, James Scott. "A provincial school of art and local industry : the Stourbridge School of Art and its relations with the glass industry of the Stourbridge district, 1850-1905." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/7008/.
Повний текст джерелаCarroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
Повний текст джерелаJames, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
Повний текст джерелаDoctor of Philosophy (PhD)
Kuchenbecker, Emily E. "Lifetime." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5838.
Повний текст джерелаCampbell, Maria E. "Inking Over the Glass Ceiling: The Marginalization of Female Creators and Consumers in Comics." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437938036.
Повний текст джерелаBlakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.
Повний текст джерелаBraun, Justin Farris. "Yes Please." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250710567.
Повний текст джерелаJordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.
Повний текст джерелаJordanov, Iliana H. "Decorator or narrator: A contextualisation of Slavic and Australian pattern making and its relationship to my painting practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/844.
Повний текст джерелаSouliman, Victoria. "“The remoteness that pains us” : National identity, expatriatism and women’s agency in the artistic exchanges between Australia and Britain in the 1920s and 1930s." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC097.
Повний текст джерелаThis thesis explores the cultural and artistic influence of Britain in Australia, or the Britishness of the Australian character, from the years directly following the end of World War I until 1941. Australia during this period was often described as an isolated, or a “quarantined”, culture characterised by its delay in accepting modernism. Despite Britain ceding more independence and autonomy to its dominions at the time, Australia sought to maintain its cultural and imperial bond, identifying exclusively with Britain in a number of ways. For instance, many Australians still considered Britain to be “Home”, while London continued to attract expatriate artists from Australia. In the words of Australian art historian Daniel Thomas, Australia developed a “bi-hemispheric Anglo-Australian cultural identity”, which was marked by nationalism, conservatism and masculinism. This thesis examines the artistic exchanges between Australia and Britain in the 1920s and 1930s, shedding light on the complexities of cultural identification. It considers in particular the fact that such nationalistic historiography of Australian art has denied women’s agency in defining Australian art and identity. The national collections of British art, as well as the mechanisms of the circulation of modern British art in Australia, are closely examined to demonstrate the dualism of Australian cultural identity and the marginalisation of women within this history, not only as artists but also as art patrons. This thesis discusses the experience of Australian expatriates in England, considering how they sought to integrate into the British art scene. In doing so, it brings to the fore the significance of expatriatism as a concept that shaped both Australian and British art historiographies. Finally, it conceptualises the achievements of two Australian expatriate women, Edith May Fry and Clarice Zander, who, as exhibition curators, played a crucial role in disseminating modernism in Australia and defining Australia’s cultural identity during the interwar period. The aim of this thesis is thus to demonstrate the mechanisms through which Australia sought to represent its national character in art, as it strove to maintain its identification with Britain
Baguley, Margaret Mary. "The deconstruction of domestic space." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/35896/1/35896_Baguley_1998.pdf.
Повний текст джерелаFozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.
Повний текст джерелаCho, Sung Moon. "La céramique et la verrerie de table en France à l’époque de Jean Luce, 1910-1960 : de la conception à la réception des œuvres." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL101.
Повний текст джерелаThis thesis sheds light on the history of the French tableware between 1910 and 1960 by examining the unexplored collection devoted to Jean Luce (1895-1964) at the Musée des Arts Décoratifs of Paris. These everyday objects are rarely studied by art historians, even though they remarkably capture the evolution of visual arts over that half-century. Luce’s creations exemplify the diversity of the Art Deco style in the inter-war period and the advent of design in the immediate post-war period. Furthermore, Luce reinvented the figure of the creator-editor specialized in this field by designing forms and motifs for both crockery and glassware, having them produced by an industrial chain and distributing them personally in his Parisian store on rue La Boétie. His work is our starting point, but we are also interested in the work of industrial designers, manufacturers of porcelain, earthenware and glass as well as tableware retailers, all of whom, in a mass production context, influenced aesthetic choices. From this, we look at how a style develops and spreads as we study the stages of creation, production and distribution of the tableware. More broadly, the evolution of these consumer goods was shaped by new manners of socializing and other changes in daily life. Consequently, our survey uses, in addition to the tools of art history, those of socio-cultural history
MacDonald, Juliette. "Aspects of identity in the work of Douglas Strachan (1875-1950)." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.
Повний текст джерелаRoby, Ruth. "Imprint of a landscape a Yarrawa Brush story /." Access electronically, 2007. http://ro.uow.edu.au/theses/15.
Повний текст джерелаPierce, Justin Wade. "A Performance Guide to David Kechley's "In the Dragon's Garden" with an Investigation of the Saxophone-Guitar Duo Genre." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1609135/.
Повний текст джерелаLevy, Tania. "« Mystères » et « joyeusetés » : les peintres de Lyon autour de 1500." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040128.
Повний текст джерелаTo sketch the portrait of the painters’ community of Lyon, between the beginning of the reign of Louis XI (1461) and the crisis of the end of 1520s, was the presupposition of this research. The appeal to sources (accounts, taxes and from ecclesiastic origin) showed itself essential to the study of painters and to the approach of social history of the art, allowing the location of them, their workshops, the some filiations, their place finally (fortune and social position) in the city. But beyond this first approach, the study of the patrons, major characters of the artistic production, allowed to define more finely the face of the pictorial practice of Lyon. Between notables, consuls, Consulate, clerics and kings, the activities of command in the city underlined the absence of big construction sites and big orders in these decades of increasing prosperity. They are thus the festivals, in the front row of which the royal and solemn entries, which mobilize the economic, literary and obviously artistic strengths. The study of the protagonists of these royal and urban ceremonies as spread themes allows to characterize in a more precise way the articulation between artists, patrons and city as to deepen the knowledge on the practice of the painters, indeed better known by this way
Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
Повний текст джерелаPiniello, Françoise. "L’écriture de la lumière dans "A la Recherche du temps perdu" de Marcel Proust : étude stylistique." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2155.
Повний текст джерелаLight is a recurring theme throughout Remembrance of Things Past - the magic lantern's importance is to be noted from the novel's beginning. Light is often used as a metaphor for artistic creation. Thus, I have chosen to study this motif focusing on light-induced patterns as well as how it becomes symbolic in the context of the novel. I will use lexicological and stylistic analysis to do so.I have first worked on words connected to creative light for which I will propose a semiasiological analysis including of the substantive light itself. I have also focused on some its para synonymous terms such as sun, moon, day, brightness, glow, lighting, shade, glint, beam...by looking for paradigms used instead in the novel.Secondly, I have examined whether some of light's properties – path sentences like rays of light ; transvertebration, stained glass window sentences - are part of the structure of Proust's sentences, since focus and fragmentation structure the author' insight into his world.Finally, I have selected literary devices - metaphors, syllepses and antanaclases in their stylistic function as well as some uses of the coordination conjunction and – and analysed them in so far as they convey the characteristics of light beyond the structure of sentences. The art of photography and its techniques are then shown metaphorically shedding light and interplaying with the art of Proust, the author of Remembrance of Things Past, progressively conjuring the image of photographice development process
Cowie, Barbara Jane. "A study through text and artifacts of the major factors that have influenced the development of studio glassmaking in South Australia from a glassmaker's perspective : history and practice of studio glass blowing in South Australia." 2004. http://arrow.unisa.edu.au/vital/access/manager/Repository/unisa:36829.
Повний текст джерелаWang, Sunny. "Report : Chinese characters." Master's thesis, 2001. http://hdl.handle.net/1885/155757.
Повний текст джерелаHemp, Doreen. "Process in glass art : a study of some technical and conceptual issues." Diss., 1995. http://hdl.handle.net/10500/16933.
Повний текст джерелаArt History, Visual Arts & Musicology
M.A. (Fine Art)
Edmonds, Frances. "‘Art is us’: Aboriginal art, identity and wellbeing in Southeast Australia." 2007. http://repository.unimelb.edu.au/10187/7112.
Повний текст джерелаThis project adopted a collaborative research methodology, where members of the Aboriginal arts community were consulted throughout the project in order to develop a study which had meaning and value for them. The collaborative approach combined an analysis of historical data along with the stories collected from participants. By privileging the Aboriginal voice as legitimate primary source material, alternative ways of exploring the history of Aboriginal art were possible. Although the story of Aboriginal art in the southeast is also one of tensions and paradoxes, where changes in arts practices frequently positioned art, like the people themselves, outside the domain of the ‘real’, the findings of this project emphasise that arts practices assist people with connecting and in some cases reconnecting with their communities. Aboriginal art in the southeast is an assertion of identity and wellbeing and reflects the dynamic nature of Aboriginal culture in southeast Australia.
Barker, Heather Isabel. "A critical history of writing on Australian contemporary art, 1960-1988." 2005. http://repository.unimelb.edu.au/10187/7134.
Повний текст джерелаChapter One focuses on Bernard Smith and the late 1950s and early 1960s Australian intellectual context in which Australian Painting 1788-1960 was published. I will argue that, although it can be claimed that Australia was a postcolonial society, the most powerful political and social influence during the 1950s and 1960s was the Cold War and that this can be identified in Australian art criticism and Australian art. Chapter Two discusses art theorist, Donald Brook. Brook is of particular interest because he kept his art writing separate from his theories of social and political issues, focussing on contemporary art and artists. I argue that Brook's failure to engage with questions of nation and Australian identity directly ensured that he remained a respected but marginal figure in the history of Australian art writing. Chapter Three returns to the centre/periphery issue and examines the art writing of Patrick McCaughey and Terry Smith. Each of these writers dealt with the issue of the marginality of Australian art but neither writer questioned the validity of the centre/periphery model.
Chapter Four examines six Australian art magazines that came into existence in the 1970s, a decade of high hopes and deep disillusionment. The chapter maps two shifts of emphasis in Australian art writing. First, the change from the previous preoccupation with provincialism to pluralist social issues such as feminism, and second, the resulting gravitation of individual writers into ideological alliances and/or administrative collectives that founded, ran and supported magazines that printed material that focused on (usually Australian) art in relation to specific social, cultural or political issues. Chapter Five concentrates on the Australian art magazine, Art & Text, and Paul Taylor, its founder and editor. Taylor and his magazine were at the centre of a new Australian attempt to solve the provincialism problem and thus break free of the centre/periphery model.
Lawrenson, Anna Louise. "Flesh + blood : appropriation and the critique of Australian colonial history in recent art practice." Phd thesis, 2007. http://hdl.handle.net/1885/110373.
Повний текст джерелаBody, Ralph Mark. "Behind the Scenes: Hans Heysen’s Art World Networks." Thesis, 2019. http://hdl.handle.net/2440/120159.
Повний текст джерелаThesis (Ph.D.) -- University of Adelaide, School of Humanities, 2019
Smith, Avis Carol. "Changing fortunes: the history of China Painting in South Australia." 2009. http://hdl.handle.net/2440/59391.
Повний текст джерелаhttp://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1374281
Thesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2009
Bojic, Zoja. "Emigre artists of Slav cultural heritage working in Australia in the 20th century." Phd thesis, 2005. http://hdl.handle.net/1885/150566.
Повний текст джерелаTopliss, Helen. "Australian female artists and modernism, 1900-1940." Phd thesis, 1992. http://hdl.handle.net/1885/133859.
Повний текст джерелаAubort, Lucette. "Report : A Spirit from the Sea." Master's thesis, 2004. http://hdl.handle.net/1885/155462.
Повний текст джерелаHorton, Ede. "Sub-thesis." Master's thesis, 2002. http://hdl.handle.net/1885/155963.
Повний текст джерелаHorton, Ede. "Report." Master's thesis, 2002. http://hdl.handle.net/1885/155966.
Повний текст джерела