Дисертації з теми "Naturalism in art Australia"
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Loo, Christopher. "The ecology of naturalised silvergrass (Vulpia) populations in south-western Australia." University of Western Australia. School of Plant Biology, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0093.
Повний текст джерелаTaschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.
Повний текст джерелаThe work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art.
Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time.
The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts.
The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood.
While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.
Gibson, 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 джерелаBrewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty, and School of Design. "Paint, painters and primary perception." THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.
Повний текст джерелаMaster of Arts (Hons)
Schilo, Ann. "Folk art in Australia: A discursive analysis." Thesis, Schilo, Ann (1993) Folk art in Australia: A discursive analysis. PhD thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/52760/.
Повний текст джерелаBemrose, Anna. "A servant of art : Robert Helpmann in Australia /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17332.pdf.
Повний текст джерелаRye, Ashley Gail. ""The truth of the life of Christ" spiritualism, naturalism and religious devotion in James Tissot's "The life of our Saviour Jesus Christ" /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 67 p, 2009. http://proquest.umi.com/pqdweb?did=1889099001&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Повний текст джерелаMorehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.
Повний текст джерелаTzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.
Повний текст джерелаMorton, Mary G. "Naturalism and nostalgia : Hippolyte Taine's lectures on art history at the Ecole des beaux-arts, 1865-1869 /." View online version; access limited to Brown University users, 1998. http://wwwlib.umi.com/dissertations/fullcit/9830497.
Повний текст джерелаGarnons-Williams, Victoria. "Art teacher pre-service education : a survey of the attitudes of Queensland secondary, and tertiary art educators." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26115.
Повний текст джерелаEducation, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.
Повний текст джерелаPennings, Mark W. "Charles Wheeler and the nude in Australia." Connect to thesis, 1991. http://repository.unimelb.edu.au/10187/1432.
Повний текст джерелаBrooks, Terri University of Ballarat. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12792.
Повний текст джерелаMaster of Arts (Visual Arts)
Brooks, Terri. ""That fella paints like me" : exploring the relationship between Abstract art and Aboriginal art in Australia." University of Ballarat, 2005. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14627.
Повний текст джерелаMaster of Arts (Visual Arts)
Walters, Anne E. "Making art-the child's perspective." Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/36630/1/36630_Digitised%20Thesis.pdf.
Повний текст джерелаSefer, Ibrahim. "Newly arrived children's art / story book 2004." [Adelaide]: Migrant Health Service, 2004. http://www.health.sa.gov.au/library/Portals/0/drawings-and-dreams-newly-arrived-childrens-art-story-book.pdf.
Повний текст джерелаYoung, Amanda M., University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Several interpretations of the Blue Mountains : a juxtaposition of ideas over two hundred years." THESIS_FPFAD_SD_Young_A.xml, 1997. http://handle.uws.edu.au:8081/1959.7/607.
Повний текст джерелаMaster of Arts (Hons)
Whitehouse, Denise Mary 1947. "The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961." Monash University, Dept. of Visual Arts, 1999. http://arrow.monash.edu.au/hdl/1959.1/8387.
Повний текст джерелаZammit, Carmen. "The art of healing : A journey through cancer : Implications for art therapy." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1224.
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 джерелаMorton, Jennifer Heather. "Desert voices, pitjantjatjara women's art and craft production in Ernabella, South Australia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22544.pdf.
Повний текст джерелаWestwood, 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 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 джерелаHeckenberg, Kerry. "The art and science of exploration : a study of genre, vision and visual representation in nineteenth century journals and reports of Australian inland exploration /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16471.pdf.
Повний текст джерелаYamani, Jamil Art College of Fine Arts UNSW. "The glittering city: moving the moving image." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/40468.
Повний текст джерелаOttley, Dianne. "Grace Crowley's contribution to Australian modernism and geometric abstraction." University of Sydney, 2007. http://hdl.handle.net/2123/2254.
Повний текст джерелаGrace Crowley was one of the leading innovators of geometric abstraction in Australia. When she returned to Australia in 1930 she had thoroughly mastered the complex mathematics and geometry of the golden section and dynamic symmetry that had become one of the frameworks for modernism. Crowley, Anne Dangar and Dorrit Black all studied under the foremost teacher of modernism in Paris, André Lhote. Crowley not only taught the golden section and dynamic symmetry to Rah Fizelle, Ralph Balson and students of the Crowley-Fizelle Art School, but used it to develop her own abstract art during the 1940s and 1950s, well in advance of the arrival of colour-field painting to Australia in the 1960s. Through her teaching at the most progressive modern art school in Sydney in the 1930s Crowley taught the basic compositional techniques as she had learnt them from Lhote. When the art school closed in 1937 she worked in partnership with fellow artist, Ralph Balson as they developed their art into constructive, abstract paintings. Balson has been credited with being the most influential painter in the development of geometric abstraction in Australia for a younger generation of artists. This is largely due to Crowley’s insistence that Balson was the major innovator who led her into abstraction. She consistently refused to take credit for her own role in their artistic partnership. My research indicates that there were a number of factors that strongly influenced Crowley to support Balson and deny her own role. Her archives contain sensitive records of the breakup of her partnership with Rah Fizelle and the closure of the Crowley-Fizelle Art School. These, and other archival material, indicate that Fizelle’s inability to master and teach the golden section and dynamic symmetry, and Crowley’s greater popularity as a teacher, was the real cause of the closure of the School. Crowley left notes in her Archives that she still felt deeply distressed, even forty years after the events, and did not wish the circumstances of the closure known in her lifetime. With the closure of the Art School and her close friend Dangar living in France, her friendship with Balson offered a way forward. This thesis argues that Crowley chose to conceal her considerable mathematical and geometric ability, rather than risk losing another friend and artistic partner in a similar way to the breakup of the partnership with Fizelle. With the death of her father in this period, she needed to spend much time caring for her mother and that left her little time for painting. She later also said she felt that a man had a better chance of gaining acceptance as an artist, but it is equally true that, without Dangar, she had no-one to give her support or encourage her as an artist. By supporting Balson she was able to provide him with a place to work in her studio and had a friend with whom she could share her own passion for art, as she had done with Dangar. During her long friendship with Balson, she painted with him and gave him opportunities to develop his talents, which he could not have accessed without her. She taught him, by discreet practical demonstration the principles she had learnt from Lhote about composition. He had only attended the sketch club associated with the Crowley- Fizelle Art School. Together they discussed and planned their paintings from the late 1930s and worked together on abstract paintings until the mid-1950s when, in his retirement from house-painting, she provided him with a quiet, secluded place in which to paint and experiment with new techniques. With her own artistic contacts in France, she gained him international recognition as an abstract painter and his own solo exhibition in a leading Paris art gallery. After his death in 1964, she continued to promote his art to curators and researchers, recording his life and art for posterity. The artist with whom she studied modernism in Paris, Anne Dangar, also received her lifelong support and promotion. In the last decade of her life Crowley provided detailed information to curators and art historians on the lives of both her friends, Dangar and Balson, meticulously keeping accurate records of theirs and her own life devoted to art. In her latter years she arranged to deposit these records in public institutions, thus becoming a contributor to Australian art history. As a result of this foresight, the stories of both her friends, Balson and Dangar, have since become a record of Australian art history. (PLEASE NOTE: Some illustrations in this thesis have been removed due to copyright restrictions, but may be consulted in the print version held in the Fisher Library, University of Sydney. APPENDIX 1 gratefully supplied from the Grace Crowley Archives, Art Gallery of New South Wales Research Library)
Chen, Albert Yi Fu 1967. "Art and social dislocation : a Chinese diasporic condition." Monash University, Dept. of Fine Arts, 2004. http://arrow.monash.edu.au/hdl/1959.1/5203.
Повний текст джерелаSlater, John Gilmour. "Pictorial images of urban Australia 1919-1945 : attitudes and functions." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364430.
Повний текст джерелаLe, Kim. "Cultural hybridity and visual practice: Towards a transformative-repair multicultural pedagogy for visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/790.
Повний текст джерелаJohnston, Iain Gray. "The Dynamic Figure Art of Jabiluka: A study of ritual in early Australian rock art." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148425.
Повний текст джерелаStanford, Jon D. "An economic analysis of the contemporary visual art market in Australia, 1972-1989." Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/35524.
Повний текст джерелаWeston, Neville. "The professional training of artists in Australia, 1861-1963, with special reference to the South Australian model /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phw535.pdf.
Повний текст джерелаSusino, George J. "Microdebitage and the archaeology of rock art an experimental approach /." Connect to full text, 1999. http://hdl.handle.net/2123/606.
Повний текст джерелаTitle from title screen (viewed Apr. 21, 2008). Submitted in fulfilment of the requirements for the degree of Master of Science to the Division of Geography, School of Geosciences. Degree awarded 2000; thesis submitted 1999. Includes bibliography. Also available in print form.
Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
Повний текст джерелаHoene, 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 джерелаLowndes, Gabrielle. "An expressive-psychoanalytic approach to the reconstruction of personal experience : an opportunity for middle year males." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/349.
Повний текст джерелаHageman, Carolyn A. "The Unlikely Road to Success: The Life and Career of Watercolorist William Leighton Leitch." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1386083716.
Повний текст джерелаFonteneau, Estelle. "Marianne Preindlsberger Stokes : les années de formation." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040193.
Повний текст джерелаThis dissertation recreates the evolution of Marianne Stokes’ art within the context of her artistic milieu from 1880 to the turn of the century. These studies concern first her early school years in Munich and Paris, and then her years among artist colonies in France, Denmark and England. Stokes’ paintings are compared to those of her contemporaries within the artist colonies. Contemporary texts, such as travel journals, biographies, letters and press articles, are used to accurately reconstruct the artist’s milieu. This thesis demonstrates that Marianne Stokes’ body of work cannot be reduced to a specific artistic movement; instead, the style of her paintings ranges from naturalist, decorative, and impressionist to symbolist. Nevertheless, the paintings of Marianne Stokes maintain one distinctive trait; they express a certain silence, an articulation of the artist’s personal piety
Dunham, 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 джерелаBrown, Diana J. "The role of visual art works in the theory and practice of education with reference to the perceptions of Western Australian primary visual arts specialist teachers." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/895.
Повний текст джерелаVacquier, Stéphane. "Rebeyrolle, Paul (1926-2005) : peintre français des IVe et Ve républiques." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3116.
Повний текст джерелаThe way they’ve been retained by Art historiography, Paul Rebeyrolle’s work and his carreer (1945-2005) appear to be problematic beyond this strict definition, factual basis for an hypothetical encyclopedia entry : what defines a French painter under the 4th and 5th republics ? Paul Rebeyrolle is well-knowed for being under-estimated, always acknowledged as a great painter, sometimes even praised as one of the most important painters of that period, in France, but still limited to the smallest share of the French history of contemporary art, when this one finds it appropriate to mention it.Yet he benefited of an early success, during the 50’s, in the wake of painters such as Bernard Lorjou and especially Bernard Buffet, before enduring a similar disavowal. An art dealer as important as Aimé Maeght and preface writers as renowned as Jean-Paul Sartre or Michel Foucault didn’t make any difference. Thus, he appears to be paradigmatic of an entire part of French art which, under the 5th republic and its cultural policy, seems to have been downgraded for a certain number of reasons that still needs to be evaluated : aesthetic disagreements, plastic discords, denial inherited from the abstract and figurative painters’ quarrel, unsaid things about the artist’s political commitment, art critics’ vagueness and preconceived opinions, journalistic frivolity fond of clichés... As many misunderstandings that led to interfere with a fair appraisal regarding his work and prevented him from ever getting a real institutional recognition
Scarparolo, Gemma E. "Character cars : How computer technology enhances learning in terms of arts ideas and arts skills and proceses in a year 7 male visual arts education program." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/662.
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 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 джерелаWalsh, Kerry Patricia, University of Western Sydney, and of Arts Education and Social Sciences College. "Potions and painting." 2003. http://handle.uws.edu.au:8081/1959.7/27666.
Повний текст джерелаMaster of Arts (Hons) (Creative Arts)
"A manly art? Masculinity and aesthetics in American literary naturalism." Tulane University, 2000.
Знайти повний текст джерелаacase@tulane.edu
Goodwin, Christine Alice. "Landscape art in rural Australia." 2005. http://arrow.unisa.edu.au:8081/1959.8/24989.
Повний текст джерелаthesis (MArchitecture(Research))--University of South Australia, 2005.
Collins, Darryl. "Asian art and Australia: 1830s-1930s." Phd thesis, 1992. http://hdl.handle.net/1885/10746.
Повний текст джерелаEdmonds, 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.