Thesis (Ph. D.)--Gothenburg.

Thesis (Ph. D.)--Princeton University, 1995. / Includes bibliographical references (p. 318-352).

The landscape in Venetian Renaissance painting makes its first important appearance in the Sketch-books of Jacopo Bellini. These landscapes depend little on the observation of nature. They are not drawings done from life, but imaginary landscapes which show that Jacopo was far more interested in creating form and space than in giving the landscape a particular mood. The landscapes of Giovanni Bellini are far more dependent on the observation of natural phenomena than those of Jacopo. Giovanni's landscapes usually depict the undulating and broken topography of the Veneto, but he did not paint particular views of this area. There is always much evidence of man's activity in Giovanni's landscapes. In these paintings the human figures are sometimes small, but never insignificant. The relationship of figures to the landscape is of great importance to the formal design, the emotional appeal and the spiritual significance of the whole. The dominant mood of Giovanni Bellini's landscapes is that of quiet religosity. From whom Giovanni learnt the use of the oil technique could not be accurately determined, but the fact that he did adopt the oil medium was of great importance to the development of Venetian landscape painting, as it enabled painters to capture the subtleties of light, colour and texture in their paintings. The landscapes of Giorgione are dependent upon the technical achievements of Giovanni Bellini, but while Bellini's landscapes are predominantly religious in character, those of Giorgione were closely connected with the new humanist culture of early sixteenth century Venice. Giorgione sought a direct and sensuous portrayal of man and nature in gentle and harmonious union. His landscapes appear to be physically softer than those of Bellini and he devoted greater attention to atmosphere. The forms in a Giorgione landscape are less precisely defined than those of a Bellini work, and contours are often blurred as Giorgione was concerned with painting a general visual impression. Nature in a Giorgione landscape is tamed and ordered, but seldom cultivated as his landscapes are primarily Arcadian. Despite the fact that Titian came from a mountainous region, his early landscapes are not mountainous but Giorgionesque. While Titian's early frescoes in Padua show a more active and dramatic relationship between man and nature, than was shown by either Giovanni Bellini or Giorgione, they are unlike his other early landscapes. After Giorgione's death Titian painted many bucolic landscapes in the manner of Giorgione. With the mythological paintings done for Alfonso, Duke of Ferrara, Titian's forms become more plastic and assertive, and his landscapes more joyous and Pandean in mood. While Titian made less use of landforms as a compositional device, he exploited clouds and foliage to a far greater degree. His use of foliage as a means of expression, to amplify and intensify the human action of the painting, reached its fullest development in the Murder of St. Peter Martyr. Titian's mountain landscapes, wilder than anything in previous Venetian painting, represent one climax in the development of Venetian landscape painting, at the same time that he was reworking idyllic Giorgionesque motifs in his Venus del Pardo. As far as is known, not one of the Venetian Renaissance painters painted a landscape as an end in itself. That development took place in the seventeenth century. It was the Venetian Renaissance painters who played the major role in the process which led to its acceptance as a legitimate mode of artistic expression. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

A Thesis Report Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Painting.

No description available.

Any examination of painting as a practice or discipline must necessarily analyse the philosophical underpinning of formalist modes of thinking. Although contemporary practices are not as driven by the inherent rules of the discipline, they are still dependent upon the theoretical foundations within which they work, and effectively this leads to a retention of medium and material specificity. In contrast, a different methodological approach potentially changes the way in which painting can be thought and is explored within the thesis. The proposition of a particular type of methodological investigation challenges painting, attempting to change its alignment with different mediums or disciplines, by locating the relationship of theoretical models and their direct paradigmatic constraints on practice. In contrast to an Hegelian philosophical approach, embedded within the formalist critique, Gilles Deleuze's philosophy is present throughout the thesis as a catalyst for re-negotiating both the spaces of theory and the realisation of a painting practice that shares a commonality with Bergsonian and Deleuzian motifs of the 'virtual' rather than the boundaried rule-based and medium-specific limitations of previous formalisms. The notion of interdisciplinarity stems from this particular philosophical investigation, and proposes painting as an intrinsically interdisciplinary practice. The motivation is to locate the relationship of different theoretical and philosophical models - including the fold, the notion of 'technique', memory, the virtual and duration - in order to establish new ways for thinking concerning painting, and importantly how it can operate in an interdisciplinary manner. In particular the idea of 'change' and 'the new' in relation to Deleuzian 'becomings', in contrast to Hegelian dialectics, drives the theoretical investigation, and how this challenges the idea of painting now. The research thinks through these integral component elements in terms of painting and analyses various examples of artworks and architectural projects (stemming from Deleuze's ideas including Greg Lynn and Bernard Cache), incorporating a new alignment with notions of spatiality and duration, which in turn constitutes a reterritorialisation of both painting and thinking as practices.

The main goal of this creative project was to study the human figure and its relationship to its environment. In the process of exploring this idea, several key concepts became the focal point. First, the element of time was studied. The primary emphasis was the relationship between human figures and the passage of time. Second, working with figures on white backgrounds focused on each figure’s visual characteristics. Last, addressing elements of abstraction helped to control the mood of each piece. In terms of subject matter, everyday activities were the focus of the project. Every day we subject ourselves to routine behaviors, to which we eventually become desensitized. In this creative work these mundane activities are addressed in order to uncover unique qualities in the visual environments that often are overlooked. A variety of techniques derived from traditional processes were developed to explore these concepts, including embedding, paint carving, and encasing. An exploration of common imagery utilizing photography, along with visual references from various artists, were used to inform the processes developed for this project. / Department of Art

No description available.

My work is a response to random happenings that provide me with opportunities for creativity. I intuitively handle my materials and media, and have developed a personally symbolic palette. I never know exactly how a piece of art will turn out. I begin my paintings by taking photographs of various places or by working on site. My imagery typically consists of landscapes from the mountains of Virginia to the coastlines of Italy. I am attracted to views that are visually soothing, such as sleepy towns, moonlit mountains, or commonplace activities. In referencing these views, I use bright, non-naturalistic and personally symbolic color to emphasize my moods and my emotional responses. I want the viewer to see a painted reality based on emotion and imagination. My Precious Metal Clay (PMC) jewelry pieces are inspired by themes related to the sea. Seashells and spiral-shaped forms are frequent motifs in my pieces. The sea and motifs of early peoples dependent on the ocean provide endless subject matter to pick from when creating each piece of wearable art.

文鳳儀. / 論文 (藝術碩士)--香港中文大學, 1999. / 參考文獻 (leaves [1-3] (3rd group)). / 附中英文摘要. / Wen Fengyi. / Lun wen (yi shu shuo shi)-- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves [1-3] (3rd group)). / Fu Zhong Ying wen zhai yao. / “抽象´ح是非語言所能描述的空間，接近無言。 --- p.1 / """Representation""(呈現）一字的意涵" --- p.5 / 正文 / Chapter 第一章 --- 呈現物本身´ؤ´ؤ抽象繪畫的本質 --- p.6 / Chapter (一) --- 從語意上詮釋“抽象´ح的意義 --- p.6 / Chapter (二) --- 從哲學上詮釋“抽象繪畫´ح --- p.7 / 看，就是這樣！ --- p.7 / 第三眼：觸動的眼睛 --- p.8 / 抽象主義的現實思考 --- p.9 / Chapter 第二章 --- 呈現的過程及狀況 --- p.14 / 從抽象繪畫藝術的歷史演變解讀 --- p.14 / Chapter 第三章 --- 存有與虛無之間 --- p.18 / Chapter (一) --- 虛空´ؤ´ؤ轉變、轉化的隱喻 --- p.20 / Chapter (二) --- 繪畫與工藝間的游移 --- p.23 / Chapter (三) --- 挪用與虛擬間的玩弄性質 --- p.27 / Chapter (四) --- 新科技等中介物的切入 --- p.32 / 結語 --- p.34 / 片斷的總和≠整體 --- p.34 / 新意義的意義 --- p.34 / “之間´ح的契機 --- p.35 / 參考資料 --- p.37 / 圓錄 --- p.1-30