Дисертації з теми "Glass sculpture 20th century"
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Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.
Повний текст джерелаCorcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.
Повний текст джерелаBishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.
Повний текст джерелаDepartment of Art
Crellin, Sarah. "Bodies of evidence : making new histories of 20th century British scuplture." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27075/.
Повний текст джерелаLui, Shi-mun Patricia, and 呂詩敏. "Research on the art of Zhu Ming with special focus on his Taiji', andThe living world' series." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207388.
Повний текст джерелаMcGown, Katie. "Dropped threads : articulating a history of textile instability through 20th Century sculpture." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36117/.
Повний текст джерелаHeron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.
Повний текст джерелаLang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.
Повний текст джерелаTaylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.
Повний текст джерелаMacDonald, Alexander M. "Decorated Vitrolite pigmented structural glass : its development, applications, and methods of production, 1907-1958." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327783.
Повний текст джерелаDepartment of Architecture
McTague, Brian. "Revisiting "Hapworth": The Catharsis of Buddy Glass." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/287.
Повний текст джерелаRobb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.
Повний текст джерелаLamb, Jacquelyn R. "The Patsy and Raymond Nasher Collection of Twentieth-Century Sculpture, 1967 to 1987." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc501252/.
Повний текст джерелаNasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.
Повний текст джерелаIndirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
Johnson, Jeffrey R. "Transmittance device : a study and construction of an architectural installation." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/845989.
Повний текст джерелаDepartment of Architecture
Hoffman-Stonebraker, Jennifer C. "The history and use of stained glass windows in ecclesiastical buildings in Indianapolis, Indiana, 1865-1915." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1214382.
Повний текст джерелаDepartment of Architecture
McBride, Barbara L. "Joseph Knecht's pattern of awakening in Hermann Hesse's The glass bead game." Scholarly Commons, 1995. https://scholarlycommons.pacific.edu/uop_etds/2284.
Повний текст джерелаAramendía, Manuel. "Alternativa personal para el estudio del proceso escultórico : precedentes históricos y debate actual." Doctoral thesis, Universitat de Barcelona, 1990. http://hdl.handle.net/10803/405419.
Повний текст джерелаMol, Elias Perigolo 1980. "Amilcar de Castro : confronto com a matéria." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279114.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Este estudo analisa a obra do artista mineiro Amilcar de Castro (1920-2002) e busca as relações existentes entre as suas diferentes produções: o desenho, a pintura, a gravura, sua atuação à frente da reforma gráfica no Jornal do Brasil e o restante de sua produção escultórica
Abstract: This study examines the work of artist Amilcar de Castro (1920-2002). It investigates the relationships between his various activities: drawing, painting, printmaking, his role leading the redesign of Jornal do Brasil as well as his sculpture production
Mestrado
Historia da Arte
Mestre em História
Dluzak, Catherine M. "An investigation into the influence of the Tiffany Studios in the ecclesiastical stained glass windows commissioned in Indianapolis, Indiana between 1880-1930." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1118169.
Повний текст джерелаDepartment of Architecture
López, Páez Montserrat 1970. "Entre la vida y el arte: proyectos artísticos de los 90 que se conciben desde y para las personas." Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/669886.
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 джерелаDawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
Повний текст джерелаValera, Albert. "La relación teoría práctica en la escultura catalana contemporánea: proceso, materia y comportamiento." Doctoral thesis, Universitat de Barcelona, 1991. http://hdl.handle.net/10803/672115.
Повний текст джерелаLeclercq, Catherine. "Alexander Calder: mobile, couleur et forme." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212989.
Повний текст джерелаMello, Eduardo Bortolotti de. "O volume na escultura de Sérgio Camargo." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284916.
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Resumo: Este trabalho tem como objetivo o estudo das articulações do volume que Camargo realizou ao longo de sua obra. Com base em uma afirmação do artista sobre seu próprio trabalho, nós iremos decodificar a linguagem abstrata de Sérgio, revelando as relações volumétricas presentes na obra do artista como por exemplo: equilibrar, tensionar e repousar. Ao longo de toda a sua obra construtiva Sérgio busca uma arte extremamente sensível. Esta característica é a grande contribuição de Sérgio Camargo para a arte brasileira
Abstract: This work has as its aim the study of the volumetric articulations that Camargo developed throughout his oeuvre. Based on an artist statement, we will decode Sérgio's abstract language, revealing the volumetric relations present on the artist's work such as to balance, to tense and to rest, for example. Throughout his whole constructive oeuvre, Sérgio searched for an extremely sensitive art. This aspect is the great contribution from Camargo to brazilian art
Mestrado
Artes Visuais
Manuel, Daniel. "Les correspondants français de Canova (1785-1822) : contribution à une histoire sociale et matérielle du goût au tournant du XIXe siècle." Thesis, Brest, 2018. http://www.theses.fr/2018BRES0104.
Повний текст джерелаThe novel subject of this thesis is based upon archive material. It is centered on how the work of Italian neo-classical sculptor Antonio Canova was received in the most glamorous clubs and salons, through the study of letters exchanged by French celebrities from different walks of life during upon the periods of the Consulate, the Empire and the Restauration. Letter after letter, the image of an artist confronted with économie, artistic and sentimental challenges emerges. He succeeds in winning over the Napoleonides who grant him their patronage and their protection. He also gains the support of government représentatives in Rome and of fashionable women who are enraptured by the charm and the refinement of the Italian sculptor’s compositions. Référencés appear as a privileged form of exchange between artists, and reflect the vitality of this type of letter, and the variety of networks.Correspondence demonstrates the changing status of the artist who adjusts his réputation to the demands of his patron, thus becoming a true businessman. Torn between his longing forfreedom and his commitment to the artistic leanings of his mentor Quatremère de Quincy, Canova's production has many facets, which endear him to critics and to the public who wishes to see him as the modem heir of Greek sculptors. Yet as he rarely visits Paris and his work is rarely exhibited there, his impact is limited. The influence of early romanticism on ne classical painting permeates Canova’s works, and is a tribute to his originality. Studying these letters brings to light historical, material and esthetic questions that their authors bear witness to
García, García Ascensión. "El puente y la escultura: un diálogo entre funcionalidad y estética." Doctoral thesis, Universitat de Barcelona, 1997. http://hdl.handle.net/10803/672090.
Повний текст джерелаMacDonald, 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 джерелаLega, Lladós Ferran. "La Cimática como herramienta de expresión artística." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/146136.
Повний текст джерелаAsensio, Fernández José Antonio. "Una revisión de la luz como nuevo factor creador en la escultura. Desde 1950 hasta nuestros días." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/145558.
Повний текст джерелаBlin, Jean-Pierre. "Max Ingrand(1908-1969). Un atelier de vitrail dans la France du XXe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040128.
Повний текст джерелаMax Ingrand (1908-1969) was one of the most famous French glassmakers in the twentieth century. He studied at the National School for Decorative Arts and joined Jacques Gruber’s studio (1870-1936) in 1927. He began his own career as a glass designer in 1931 and produced many engraved glass decorations, both in public and religious buildings. He created the stained glass windows of Saint-Agnes Church at Maisons-Alfort and took part in the project of the windows executed for the nave at Notre-Dame de Paris, which were first displayed inside the papal pavilion of the 1937 Exhibition. An officer in the French armed forces in 1939, he was made a prisoner and jailed for five years in a camp in Germany. When he returned home, he became one of the most active glassmakers in the whole country, being involved in the reconstruction effort and working, in particular, to the project of a monumental church in Yvetot (Normandy). He was part of prestigious projects led by the French Heritage in cathedrals (such as Rouen, Beauvais, Saint-Malo and Strasbourg), in castles (such as the chapels of Blois, Amboise, Chenonceau), in churches (such as La Charité-sur-Loire and the Jacobins in Toulouse). Due to his fame, he won a large amount of orders abroad in the mid-fifties, especially in the United States, in Canada and in South America. He acted at the same time as a decorator and a designer. He was, for instance, an art director for thirteen years at the Fontana Arte, a big design company in Italy, and created many lighting fixtures for them. Before and after World War II, he was involved in the decoration of liners as important as the Normandy and the France. He also designed lit fountains in public spaces, the best known being along the Champs-Élysées in Paris. He had to change career dramatically in his late years and stopped glassmaking. He then specialized in architectural design and lighting fixtures. He died suddenly in 1969, a few months after he had passed his workshop on to his associate Michel Durand
Ruiz, i. Carulla Martí. "Escultura sonora Baschet. Arxiu documental i classificació d'aplicacions pel desenvolupament de formes acústiques." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/363918.
Повний текст джерелаOur study -based on original documentary sources and field work- provides a reading of the corpus of work under the light of the conceptual system developed by Baschet, to ease the understanding of acoustic principles and their applications as well. The aim of this thesis is to highlight the technical and aesthetic aspects -in relation to the vital statements of Baschet respect the notion of Sound Sculpture as an object for public participation- to encourage ponder and help laying the foundation for conservation, research and further development, while inserting naturally in the path of the Baschet Sound Sculpture.
Sans, Massó Alexandra. "La escultura matriz de Louise Bourgeois, un espacio para la revuelta." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/382834.
Повний текст джерелаMesa, Vázquez Rufino. "Anell de pedra, L'." Doctoral thesis, Universitat de Barcelona, 2006. http://hdl.handle.net/10803/1543.
Повний текст джерела· El món exterior construït amb matèria inerta, base comuna de la realitat.
· Les coses sensibles encarnades en el cicle de la vida i la mort.
· Allò que emergeix de l'activitat mental, les hipòtesis de treball científic i les obres d'art.
Aquests universos estan traspassats per un fil invisible unit a les lleis de la física, als processos metabòlics i bioquímics que constitueixen la base de la vida. La visió del paradigma emergent, post cartesià, unifica la matèria, la vida i la ment i ens obliga a definir de bell nou la relació existent entre l'home i la resta d'éssers vius. La raó humana no és una característica diferenciadora de la resta d'animals, sinó que és una qualitat que ens unifica amb ells, ens situa en la mateixa línia d'evolució de la vida. En la roda dels canvis, en la transformació de la matèria, tant sols estem en altre nivell, en una fase de complexitat diferent.
L'art pot ser ara una manera que l'home fa servir per connectar amb l'alè invisible del món, amb el llenguatge encriptat que presenta la natura. Des de la perspectiva de la realitat estètica, l'obra d'art és el vehicle que posa en comunió la matèria i les seves produccions, és el nodol de les xarxes de relació entre la matèria, la vida i la cultura.
L'Anell de pedra vol mitigar el dolor de la vida i apaivagar els nivells d'incertesa. La seva forma presenta un ordre amb el qual es mira el misteri inefable del món, en ell queda emmirallat un patró de conducta que s'auto replica, que balla sobre un fons caòtic i genera ontologia. Aquesta percepció de la matèria sensible l'he anomenada "la realitat estètica". Tot emergeix d'aquesta premissa; la qualitat creativa de la matèria. El món que veiem, és la seva obra i en ella intentem trobar-nos i acomodar la nostra existència. La ressonància creadora, les "hierofanies" que emanen d'una muntanya, no són la veu del sagrat, són constatacions de la realitat estètica, intuïcions creatives, "revelacions", fruït d'anàlisis de la raó científica. Hem de pensar, però, que tot és físic, incloent les emocions i els pensaments, tot emergeix d'una memòria implicada en la matèria que es desplega als ulls per mitjà de reaccions físiques i químiques. L'univers es revela a la mirada com holografies, creacions instantànies de la ment que queden unides per xarxes de relació física. En el fons caòtic del món i la ment, tot és atzar i necessitat, intercanvi d'energia i informació.
El procediment de treball ha portat varies direccions:
· Constatar en l'experiència de camp que la ressonància de la matèria es comunica i traspassa els tres àmbits anunciats.
· La recerca i documentació d'aspectes sensibles en la natura, com a eina que ajuda a conèixer la condició humana.
· Elaborar la idea que l'art és també el llenguatge de la natura, ja que aquesta està sotmesa al cicle creatiu de la vida i de la mort.
· La vida també és art i aparença; pregunta obsessiva que cerca el seu significat en una contínua transformació.
CONCLUSIONS: Com a escultor he assajat escenaris per fer accions en la cara fosca de la realitat: les ocultacions. Com a resposta a les meves conviccions, allí, on les simetries fonamentals de les partícules presenten el principi d'incertesa, he presentat l'obra, allí he redactat el compromís conceptual de l'aliança. En el món exterior, en el de les coses tangibles he instal·lat la forma de l'anell de pedra.
"El anillo de piedra" es una reflexión abierta desde la escultura que trata sobre la comunicación débil y sobre la comunión que se establece con la naturaleza. Presenta un orden en la complejidad del acto creativo y expresa la voluntad de establecer una alianza dentro de la oscuridad del mundo. Quiere ser una gnosis, un hilo de unión entre el pensamiento estético, la sensibilidad espiritual y el paradigma emergente, la nueva formulación de la realidad. Con la información disponible sobre la existencia paradójica de las cosas, la tesis define una gráfica con tres áreas de realidad:
· El mundo exterior construido con materia exánime pero común a todo lo que nos rodea.
· Las cosas sensibles encarnadas en el ciclo de la vida y de la muerte.
· Las acciones que emergen de la actividad mental, las ideas, ilusiones, fascinaciones, hipótesis de trabajo científico y las obras de arte.
Presenta estos universos traspasados por un hilo invisible, unidos siempre a las leyes de la física, a los procesos metabólicos y bioquímicos que constituyen la base de la vida. La visión del paradigma emergente, post cartesiano, unifica la materia, la vida y la mente y nos obliga a definir de nuevo la relación existente entre el hombre y el resto de seres vivos. Las propuestas de la tesis nos invitan a formar parte del fluir creativo de la naturaleza. Se reflexiona sobre la razón estética y apunta que no es una característica que nos diferencie del resto de los animales, sino que es una cualidad que nos unifica con ellos; nos sitúa en la misma línea de evolución, así, podemos de pensar que tan sólo nos encontramos en una fase diferente.
Las aportaciones del procedimiento creativo son:
· Constatar en la experiencia de campo que la resonancia de la materia se comunica y traspasa los tres ámbitos anunciados.
· La búsqueda y documentación de aspectos sensibles en la naturaleza ha proporcionado una respuesta estética que mitiga los niveles de incertidumbre y nos reconcilia con el mundo.
· La vida es arte y apariencia en proceso permanente, cuestión que nos obliga a elaborar una idea firme más allá del escenario de los objetos. El arte es también el lenguaje de la naturaleza, ya que ésta está sometida al ciclo de la vida y de la muerte.
Conclusiones: como escultor he ensayado espacios para hacer acciones en la cara oculta de la realidad: las ocultaciones. Como respuesta a mis convicciones, allí, donde les simetrías fundamentales de las partículas presentan el principio de incertidumbre, he presentado la obra, allí he redactado el compromiso conceptual de la alianza. En el mundo exterior, en el de las cosas tangibles y contingentes, he instalado la forma, el Anillo de piedra.
ENGLISH SUMMARY:
"Stone ring" is an open reflection and experiment of poor communication, which introduces order into the complexity of the creative act and reveals the will to create an alliance with Nature.
It is a work of gnosis, a connection between the aesthetic thought, the spiritual sensitivity and the emergent paradigm; a new world order. By means of information on the paradoxical existence of things, the thesis defines a virtual graphic displaying three areas of reality:
· The external world built with spiritless material, common to everything.
· Sensible things involved in the cycle of life and death.
· Everything that arises from mental activity; ideas, illusions, fantasies, hypotheses of scientific and art works.
These universes are connected by an invisible thread which is united to the laws of physics, metabolic and biochemical processes that constitute the basis for life.
The post Cartesian vision of the emergent paradigm unifies matter, life and soul, and forces us to redefine the relationship between man and other beings; nature.
Reason does not make us different from other animals. In fact, it is a quality that unifies us, that places us in the same evolution chain, despite representing different phases of evolution.
The procedure for the project has focused on three main areas:
· Prove through field experience that resonance of matter can communicate and move through the three above-mentioned areas
· Use research as a tool to document sensitive aspects of nature and reduce levels of uncertainty
· Develop the ideas that art is the language of nature, subjected to the cycle of life and death and that life is art and appearance.
CONCLUSIONS:
As a sculptor, I have conducted research in different settings in order to perform actions on the dark side of reality: concealments. To prove my convictions, I have presented my work where the main symmetries of particles display the uncertainty principle. The display is found in the external world of tangible objects and is where I have placed the Stone ring and ultimately written the conceptual compromise of alliance.
Pirson, Chloé. "Les cires anatomiques (1699-1998) entre art et médecine: étude contextuelle de la collection céroplastique du musée de la médecine d'Erasme." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210884.
Повний текст джерелаSur base d'une étude de la collection des cires anatomiques du musée de la médecine d'Erasme, ma thèse de doctorat vise à l'étude contextuelle de la production de cires anatomiques depuis la fin du 18e siècle jusqu'au 20e siècle. Nous avons montré comment ses objets didactiques, produits par des moyens sculpturaux, ont été perçu à travers leurs usages successifs depuis l'enseignement médicale jusqu'à la prévention sociale des maladies d'époque, au sein des musées anatomiques forains.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished
Blakeley-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 джерелаBrenner, Joni. "The construction of likeness in some contemporary high portrait painting." Thesis, 2016. http://hdl.handle.net/10539/20922.
Повний текст джерелаLikeness is a central issue to the tradition of portrait painting. This dissertation examines the notion of likeness in some contemporary high portrait painting. Likeness is viewed as constructed socially through the complex relations between artist, sitter and viewer. Faced with the problematic notions of realism and naturalism and their philosophical ramifications, the dissertation confronts the question of What in our world can be regarded as natural or given, and what is constructed or acquired. The discussion, framed by the debate set up between Nelson Goodman and E.H. Gombrich, leads to the conclusion that the 'natural' and the 'real' are not neutral, they are highly constructed. The dIfferences between various conventions; various ways of representing others, are extrapolated from the debate, and once acknowledged. the final position taken is a less linear conventionalist stance. The constructed nature of likeness is tested against the portraits by American artist, Andy Warhol and British artist. Lucian Freud, contemporary painters working in direct antithesis to one another. The aim is to show that both of their portrait likenesses. whether private or public, painterly Or mechanical, are embedded within socially constructed conventions. Recognition of 'the conventions can guide the viewer in deconstructing the work and locating the meaning. I discuss my own work in relation to the contents of this dissertation.
"Inspiration of architecture on contemporary ceramic art." 1997. http://library.cuhk.edu.hk/record=b5889270.
Повний текст джерелаSlides insert in pocket.
Thesis (M.F.A.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 45-46).
ABSTRACT
INTRODUCTION --- p.1
Chapter Chapter 1 : --- SYMBIOSIS OF INSIDE AND OUTSIDE --- p.4
-Transformation of vessel
Chapter Chapter 2 : --- THE CRISIS OF IDENTITY --- p.15
-The magic of teapot
Chapter Chapter 3 : --- SITE - SPECIFIC WORK --- p.22
-The giant in nature
Chapter Chapter 4 : --- METABOLISM --- p.35
-Regeneration and process
CONCLUSION --- p.42
BIBLIOGRAPHY AND REFERENCE --- p.45
Cohen, Joshua Irwin. "Masks and the Modern: African/European Encounters in 20th-Century Art." Thesis, 2014. https://doi.org/10.7916/D8BG2M4Z.
Повний текст джерелаDa, Cruz Carla. "The use of clay as a medium in contemporary sculpture (1980- 2003)." Thesis, 2004. http://hdl.handle.net/10321/2187.
Повний текст джерелаThis dissertation investigates the use of clay as a medium in contemporary sculpture made between 1980 and 2003. This research focuses specifically on discussing the artists' (both sculptors and ceramists) different approaches and attitudes to working with clay, from construction, manipulation, firing and glazing techniques through to their personal aesthetics and ideas. This dissertation examines how and why the contemporary sculptor trained in Fine Art is increasingly using clay as a medium in which to work. In addition, the candidate discusses the work of ceramic artists that have moved away from the constraints of earlier, more traditional, functional ceramics and have sought to push the boundaries of clay usage in terms of size, scale, mass and concept. Chapter One presents a broad historical overview of the use of clay in sculpture. This overview illustrates the depth and breadth of the use of clay in the making of sculpture, spanning the Nineteenth Century to the Twentieth Century, in order to highlight the significant shift in the use of clay in contemporary sculpture. Chapter Two introduces and discusses a number of contemporary sculptors who work in clay in different ways. Section One examines artists using clay and other materials in the creation of installations. These include Antony Gormley and Andy Goldsworthy. Section Two discusses those artists working with clay in large-scale, including Jun Kaneko and Wilma Cruise. The architectural and environmental use of clay materials is discussed in Section Three; this includes artists John Roloff, who works with the kiln as sculpture and Joyce Kohl, who works with adobe assemblages and steel.
M
Couldridge, Fiona Sharon Kemsley. "Christian thematics in the work of Jane Alexander." Thesis, 2014.
Знайти повний текст джерелаSimpson, Sally Robyn. "Practice-led research into ways the museum is explored as a house of wonder in contemporary sculpture." Master's thesis, 2012. http://hdl.handle.net/1885/156002.
Повний текст джерелаVol.1: Dissertation -- vol.2: Exegesis.
Bourdin, Lara. "The sculpture of Irma Stern (1922-1955)." Thèse, 2013. http://hdl.handle.net/1866/10431.
Повний текст джерелаThis thesis proposes an unprecedented critical study of the sculptural production of the South African-born, German-Jewish artist Irma Stern (1894-1966). It seeks to open new perspectives on the art, the career, and the historical significance of a figure who is commonly celebrated for her pioneering contribution to the development of modern South African painting. This thesis’ contribution is twofold. Firstly, it offers the first comprehensive catalogue of Stern’s sculptural œuvre, bringing into focus a corpus of roughly thirty to fifty works, produced between the years 1922 and 1955 in a variety of different media, which display a consistent focus on the African female subject. Secondly, it analyzes and interprets Stern’s complete sculptural oeuvre. Mapping the narrative of Stern’s sculptural production onto the plot of her life and work as a painter of African subjects, it seeks to offer a richer understanding of the desires, anxieties, and concerns that underpinned Stern’s thirty-year-long engagement with African subject matter as well as an account of the racial power dynamics that are at play in her oeuvre. Through dedicated studies of Stern’s production in clay (1922), cement (1936-1945), and wonderstone and verdite (1936-1945), guided by concepts drawn from postcolonial, phenomenological, and sculptural theory, it tracks the changes in Stern’s sculptural approach to her subject matter and analyzes them in terms of Stern’s changing relationship with her African models. These analyses ultimately offer new directions for approaching Stern and framing her position in the history of South African art.
Edmunds, Paul Jonathan. "Inherent ecology : an examination of sculpture by Walter Oltmann, Andries Botha and Paul Edmunds." Thesis, 1995. http://hdl.handle.net/10413/5990.
Повний текст джерелаThesis (M.A.)-University of Natal, Pietermaritzburg, 1995.
Mergl, Jan. "Výtvarný vývoj produkce Harrachovské sklárny v Novém Světě 1850-1940." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-332283.
Повний текст джерелаLiebenberg-Barkhuizen, Estelle Juliana. "The Iconography of the 'indigene' in Mary Stainbank's sculpture c 1920-1940." Thesis, 2002. http://hdl.handle.net/10500/879.
Повний текст джерелаKnapová, Martina. "Sociální tendence a dílo Vladimíra Astla." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-344511.
Повний текст джерелаThorngate, Russell. "The choral cycle : a conductor’s guide to four representative works." 2011. http://liblink.bsu.edu/uhtbin/catkey/1639728.
Повний текст джерелаChoral cycles in historical context -- The hour glass by Irving Fine -- American madrigals by Kirke Mechem -- Voices by Stephen Paulus -- Five Hebrew love songs by Eric Whitacre -- Summary and conclusions.
School of Music
Garlatyová, Gabriela. "Maria Bartuszová (1936 - 1996). Sochařské dílo v kontextu umění." Doctoral thesis, 2020. http://www.nusl.cz/ntk/nusl-437136.
Повний текст джерела