Issued also as thesis, Amsterdam. / "Notes in letters pertaining to Synthetist art theories": 78 pages inserted. "Bibliography": p. 243-257.

Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007. / Includes bibliographical references (p. 67-71). / This thesis is an examination of the 1976 Museum of Modern Art exhibition of color photographs by William Eggleston-the second one-man show of color photography in the museum's history- with particular attention to the exhibition monograph, William Eggleston's Guide. From hundreds of slides, MoMA Director of Photography John Szarkowski dominated the process of selecting the 75 images for the exhibition and 48 to be carefully packaged in the Guide, a faux family photo album/road trip guidebook. It is my contention that, despite their verbal emphasis on the Modernist and universal (rather than Southern) nature of the images, the photographs can be read as being replete with the mythology of the Old South- its decay, vulgarity, and even horror. Through this act of manipulation, the images in the Guide appealed in a voyeuristic way to an elite Northern art world audience, ever eager to reinforce its own intellectual, economic, and ethical superiority over other parts of the country. Due to its presumed "vulgarity" and absence of aesthetic mystique at the time, color photography required for its inaugural moment at the museum a sharp distancing from the documentary tradition and advertising-the complete erasure of social context afforded by a Modernist aesthetic. / (cont.) The two-faced posture maintained by the curator and photographer combined a canny understanding of the cultural power of the images with an overtly Modernist disavowal of it. / by Anna Karrer Kivlan. / S.M.

The problem concerning this investigation is determining some of the possibilities of combining painting, architectonic constructions, and shadows produced by the controlled lighting of the structure. Chapter I is a brief history of experimentations in these areas during the twentieth century. This history assists in defining what has been done in the past, and reveals some directions for the future. Chapter II concerns three areas of study 1) the selection of the constructed forms mounted on canvas panels, 2) the lighting experimentations and their results, 3) the use of painted shadows to create an ambiguous pattern. This research concludes that a synthesis of these various art elements is not only possible, but aesthetically pleasing.

Engaging with both the materiality and visuality of the embroidered artworks by Marguerite Zorach and Elaine Reichek, this thesis analyzes the material acknowledgement, or lack thereof, of the embroidery medium in both the artists' own motivations and how the Museum of Modern Art represents and displays modern embroideries. Often perceived as old-fashioned, in both cultural and artistic frameworks there is at a times tremulous acceptance of the embroidery medium. Both Zorach and Reichek's embroideries are undoubtedly rooted in modernist ideas surrounding form, subject, and aesthetics. Expressed in thread, the concepts behind these artworks are closely stitched to the medium itself, enhanced by the textural and methodological process of embroidery. Despite this, the modes of display used by the MoMA exhibits portray a reluctance to fully embrace and acknowledge the importance of materiality in in the history of embroidery. Examining the inclusion of Zorach's The Circus in the 1938 Three Centuries of American Art exhibition alongside Reichek's 1999 solo exhibition Projects 67: Elaine Reichek displaying her When This You See… embroidery series, this thesis evaluates each artist's use of the medium and how the respective exhibitions framed the embroidered artworks. / Master of Arts / Embroidery, often perceived as a domestic or craft practice, faces cultural and artistic reception challenges when being used as a medium for modern art. Using Marguerite Zorach and Elaine Reichek's embroidered modern artworks, this thesis analyzes how the artists' motivations are translated through the Museum of Modern Art's curatorial and conceptual framework. For these two artists, the materiality, physical processes, and cultural history of the embroidery medium provide grounding contexts for their individual artistic production. This emphasizes that artistic motivation for the use of embroidery is inherently tied to the physical and contextual qualities of the medium, rather than being a simply coincidental choice of medium. Despite this, the MoMA, while not wholly ignoring the material qualities of embroidery and the intimate connection between artist, materiality, and process, does not fully acknowledge and exhibit these closely stitched connections. Analyzing how the MoMA displayed Zorach's The Circus in the 1938 and Reichek's When This You See… embroidery series in 1999, this thesis delves into the cultural forces informing the MoMA's exhibition framing of embroidery alongside how each artist's use of the medium.

Thesis (M.A. (Hons.)) -- University of Western Sydney, 2003. / "Submitted in part fulfillment of the degree of Master of Arts (Honours) by Research, School of Contemporary Arts, University of Western Sydney" Bibliography : leaves 104-110.

No description available.

A reflexão sobre a melancolia, na produção estética de Giorgio De Chirico, compõe o arcabouço da presente pesquisa. Neste estudo, são considerados sentimentos e ressentimentos que permeiam aspectos biográficos e estéticos ligados direta e/ou indiretamente às questões da melancolia na obra do artista Giorgio De Chirico. A constituição melancólica de sua produção seria sustentada pelas referências do artista? Isto é, a reconhecida influência de filósofos como, Nietzsche e Schopenhauer e de artistas como Arnold Böcklin e Max Klinger forneceria o embasamento à postura melancólica de De Chirico? O contexto vivido na Europa, no século XX (cercado por duas Guerras Mundiais) contribuiu para a adoção desta condição? As circunstâncias biográficas direcionariam o artista para a expressão da melancolia em seus trabalhos? E, por fim, De Chirico utilizaria o que poderia se chamar de uma estética da melancolia como um dos eixos de sua reflexão poética? A elucidação dessas perguntas pode residir nas fontes históricas que unem melancolia e arte desde os escritos dos filósofos gregos, passando pelas questões do Renascimento e chegando ao ideário moderno do qual De Chirico é fruto. / The melancholy reflection on the aesthetic production of Giorgio De Chirico makes up the framework of this research. In this study, the feelings and resentments that permeate biographical and aesthetic aspects related directly or indirectly to issues of melancholy in Giorgio De Chiricos works are considered. Would the melancholy constitution of his production be sustained by the references of the artist? That is, would the recognized influence of philosophers like Nietzsche and Schopenhauer and artists such as Arnold Böcklin and Max Klinger provide the basis for de Chirico\'s melancholy posture? Would the context experienced in Europe in the twentieth century (surrounded by two world wars) contribute to the adoption of this condition? Would the biographical circumstances steer the artist towards the expression of melancholy in his works? Finally, would De Chirico make use of what might be called an \"aesthetics of melancholy as one of the pillars of his poetic reflection? The elucidation of these questions may lie in the historical sources that combine art and melancholy from the writings of the Greek philosophers, through questions of the Renaissance and coming to modern ideas - of which De Chirico is a result.

Although much of Gustav Klimt's work is well recognized, his painting Hope II (1907-1908) has received little attention in academic studies. Rejected by his peers on its initial exhibition, this work was found offensive by even his staunchest supporters. Second wave feminists have also been critical of his painting, finding in it an objectification of women. This is likely due in part to the central subject of the piece involving pregnancy. Klimt was unafraid to paint images that shocked and diverged from traditional aesthetic styles. During a time of rapid social change and development of the feminist movement, Klimt offered fin-de-siècle Vienna an image that invited conversations about female sexuality, identity, and fertility. This paper constitutes a rereading of Klimt as empathetic to the female experience by way of a close analysis of Hope II. The artist's closeness to many women indicates his awareness of their plight. His portrayal of fertility in this painting offered a new perspective of womanhood in art with a depiction of woman as autonomous and empowered. Criticism from second-wave feminists often follows Klimt's work. However, his continued representation of the female body should be read as a glorification of the body rather than objectification of it.