This dissertation is a study of the cultural contributions made by the scholars who accompanied Napoleon Bonaparte to Egypt in 1798. The purpose of the expedition was strategic and colonial, so Bonaparte recruited some of France's leading artists, scientists and engineers to accompany the French Army and study Egypt systematically. / In order to facilitate their research, the scholars formed a learned body, the Institute of Egypt. The research conducted by members of the Institute lay the groundwork for the development of Egyptology as a professional field of academic study. The culmination of the savants' work was the multivolume, illustrated Description de l'Egypte, which covered topics including natural history, geography, contemporary Egyptian society and Egyptian antiquities. The Description offered European scholars their first comparatively accurate view of Egypt, especially ancient Egypt. / The work of the French in Egypt also reflected various trends in eighteenth century thought. The savants believed that they were bringing progress and enlightenment to contemporary Egypt in the form of scientific and technical development. Moreover, the Napoleonic scholars, like some of the philosophes, believed that man could rationally, scientifically, and objectively study a society and then distill the information into a single, encyclopedic work. As colonialists, they regarded Egypt as fertile territory for scientific study. Since Europeans knew relatively little about ancient or contemporary Egypt, the French believed that they could claim credit for the rediscovery of a great civilization, and the glory of ancient Egypt would be reflected on Napoleonic France. / Source: Dissertation Abstracts International, Volume: 53-10, Section: A, page: 3644. / Major Professor: Donald D. Horward. / Thesis (Ph.D.)--The Florida State University, 1992.

The large-scale frescoes from Neopalatial Crete and contemporary Thera reveal a salient emphasis on the portrayal of textiles. The theme of textiles is realized in the intricate portrayals of patterned clothing, the central depictions of tributary cloth, the iconographic theme involving the unworn flounced skirt, and portrayals of elaborate wall hangings. This investigation focuses on the corpus of wall paintings that specifically highlight the representation of cloth. The primary materials evaluated are the large-scale figural frescoes that appear at the height of Minoan occupation at the sites of Knossos, Agia Triada, and Pseira on Crete, and at the contemporary sites of Akrotiri and Phylakopi in the Cycladic Islands. The material from Crete and that from the Cyclades is considered together, and the comparable textile iconography is identified and defined. The general objective of this study is to examine the significant role that textiles played during the Neopalatial period in the Aegean Bronze Age. The importance of cloth for this period, clearly documented by its artistic portrayal, has largely been overshadowed by investigations that are strictly concerned with Aegean costume or inquiries into textile industry. Investigations into the ritual and artistic use of cloth, irrespective of its role as clothing in the Aegean are rare. Moreover, sweeping investigations that consider the Minoan and Mycenaean paintings in a single homogeneous account often cloud the distinctiveness of the Minoan period. It is argued that the analogous representations from Crete and the Cycladic Islands reveal that textile production in the Neopalatial period was a major art of ritual, and artistic concern. Evidence that common social practices and religious rituals surrounding cloth existed in Crete and the Cyclades is furnished by comparable textile patterns, congruent styles of costume, and analogous ritual use represented in the large-scale fresco paintings. The conclusion is reached that while local affinities exist, there is specific commonality in the iconography of cloth between Crete and the Cyclades. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts. / Degree Awarded: Summer Semester, 2006. / Date of Defense: January 16, 2004. / Wall Hangings, Wall Hanging, Fabrics, Fabric, Clothing, Cloth, Textiles, Textile, Murals, Mural, Frescoes, House Of The Ladies, Aegean, Cycladic, Cyclades, Thera, Crete, Neopalatial, Bronze Age, Wall Painting, Fresco, Knossos, Phylakopi, Minoan, Costume Dress, Dressing, Ritual Robing, Rites Of Passage, Initiation, Xeste 3 / Includes bibliographical references. / Daniel J. Pullen, Professor Directing Thesis; Christopher Pfaff, Committee Member; Susan Lee, Committee Member.

The thesis is concerned with the use of family imagery in monumental sculpture commissioned from the major London workshops in the mid-eighteenth century. It explores the interaction of the many factors which dictated the way in which the family might be represented in monumental sculpture. The interests of the competing London workshops in producing images which established their fame and increased their profits are studied in conjunction with the interests of the patronage in furthering personal and family reputations. The thesis evaluates the contribution that work upon the social history of the eighteenth century family can make to our understanding of the development of monumental imagery. I investigate the many levels of problems associated with using an art form as a source of "data" in the formulation of social history and the potential of the analysis of artistic images to question, or confirm, the validity of theories of family history. The central objective is to enquire into the reasons why the London market in monumental sculpture thrived and expanded in the first half of the eighteenth century. Much of the analysis is directed at revealing the fundamental reasons which caused patrons to order monuments. Changes in furierary culture are measured in terms of the proportion of monuments commissioned to mark, for instance, the elevation of a family to the peerage, or a bereaved husband's grief for his wife. I conclude that the great majority of monumental sculpture commissioned from London workshops throughout the period was concerned with matters of inheritance and property; marking the end of dynasties, the gratitude of those inheriting land, and the establishment of new families upon country estates. The demand for images marking the transfer of property and the passage of titles and honours is shown to have dominated the sculpture market in the first two decades of the period and, despite a strong cultural reaction against formal dynastic sculpture in the 1740s and 50s, continued to have a commanding role in the success of the London workshops.

The important group of books illuminated for the Bohun family, ca 1340-1400, has not received the close study it warrants. Certain misconceptions have arisen about the dating, localisation and ownership of these manuscripts. By a detailed codicological and stylistic examination of each book, illuminators are charactensed, their artistic development traced and a chronology postulated. Thi analytical method reveals that each manuscript is not necessarily the product of a single campaign, but may have been worked on for successive members of the family. It is only after the various campaigns have thus been determined and a sequence of production formulated that conclusions can be drawn for dating and ownership from documentary evidence. Bohun patronage falls into three distinct phases. The first, in which the English sources of the Bohun style lie, is that of the 1340s, a decade more productive than formerly realised. The activity of these probably Cambridge-based illuminators, however, was curtailed by the Black Death. During the second, more homogeneous phase (Ca 1350- 55 to ca 1385) two illuminators, the 'English Artist' and 'Flemish Hand' (and later a third) worked at Pleshey Castle, Essex, where they produced manuscripts exclusively for the Bohun family. The interaction of the artists of the 'central' workshop is charted; two of these can be identified as Austin friars. The origins of the Flemish Hand are localised in Toumai and Ghent illumination of ca 1330-1350; the 'Lows de Male' manuscripts, which have a direct bearing on his work are here redated. The Italian influence often discerned in the work of the English Bohun illuminator is identified as principally that of NiccolO da Bologna and his school. With the demise or departure of their resident miniaturists the Bohuns ordered their manuscripts in London where illumination was becoming more commercial. The complex interrelationships between the Lytlington Missal workshop and others with which the Edinburgh Psalter-Hours Artist can be associated, covering the third phase of Bohun patronage (Ca 1385-1400), are examined.

The introductory chapter explains terms used throughout this thesis and why this period was chosen for study. The history of the introduction of drawing to the curriculum of Christ's Hospital, the Lens family who were the drawing masters there, and their drawing manuals and teaching methods are the subject of the second chapter. The third deals with the teaching of drawing at private academies, particularly Thomas Weston's in Greenwich, and with his and the Bickham family's activities as drawing masters to the pupils of this academy and the children at the Royal Naval Hospital. William and Sawrey Gilpin at Cheam Preparatory School are examined through the surviving correspondence of the Grimstons of Kilnwick in chapter four. Alexander Cozens's activities as a drawing master occupy the remaining half of the thesis. Chapter five explains how he himself learnt to draw and describes his earliest known employment as a drawing master at Christ's Hospital from 1749 to 1754. Chapter six traces his activities through the 1750's as a private drawing master and as the author of publications intended to assist the artistic invention of amateurs and professionals alike. It also examines his relationship with his son, John Robert Cozens, with Sir George Beaumont at Eton College, and with Henry Stebbing who studied Cozeris's 'blot' method. Chapter seven examines the activities of three of Cozens's private pupils through their surviving work and family papers in order to ascertain the element of original artistic creativity in the landscapes produced under his instruction. The concluding chapter considers why art education gained considerable importance in the education of young gentlemen and gentlewomen during this period, and whether the drawing masters' methods of teaching them changed. Finally, the role of drawing masters as creators and disseminators of artistic theories and their contribution to the development of English landscape watercolour painting are discussed.

<p> Between 1937 and 1943 the Romanian blouse plays a more pivotal role than previously acknowledged in Matisse's development of a pictorial sign language. Its embroidered oak leaf motif eventually evolves into an abstract symbol of <i>&eacute;lan vital</i> that animates the artist's late cutouts. By tracking the Romanian blouse, this thesis offers a counter-narrative to the standard monographic study or formal reading of Matisse&rsquo;s work. We learn the back story of how the blouse becomes a fashion trend set by Queen Marie of Romania who used her celebrity and national dress to promote the welfare of the Romanian people following WWI. We also see how appropriation turns into misappropriation when fashion designer Yves Saint Laurent&rsquo;s 1981 collection inspired by Matisse&rsquo;s images of the blouse introduce a broadly defined ethnic fashion into haute couture.</p><p>

No description available.

No description available.

Swell Art Exibition In Gordon Snelgrove Gallery

Swell Art Exibition In Gordon Snelgrove Gallery