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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 31 to 38 of 38 (0.025 seconds)Spelling suggestions: "subject:"[een] WOODCUT"" "subject:"[enn] WOODCUT""
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Grafická výzdoba nejvýznamnějších tisků Pavla Severína z Kapí Hory a jeho pokračovatelů / Graphic decoration of the most important prints of Paul Severino of the Kapi Hora and his followersVlášková, Barbora January 2012 (has links)
Bibliografická citace Grafická výzdoba nejvýznamnějších tisků Pavla Severína z Kapí Hory a jeho pokračovatelů [rukopis] : diplomová práce / Barbora Vlášková; vedoucí práce: Magdalena Nespěšná Hamsíková. -- Praha, 2012. - 170 s. Anotace Diplomová práce s názvem "Grafická výzdoba nejvýznamnějších tisků Pavla Severína z Kapí Hory a jeho pokračovatelů" pojednává o kulturním a historickém významu největší renesanční pražské tiskárny působící na konci 15. a v první polovině 16. století. Práce se zejména zaměřuje na vývoj a kvalitativní zpracování dřevořezové výzdoby tisků, vydaných v severínsko-kosořské tiskárně v průběhu jejího sedmdesátiletého působení. Zmíněny zde budou počátky severinské tiskárny a rané knižní ilustrace v kontextu se zahraničními inspiracemi, které měly vliv na pozdější práce jednoho z nejvýznačnějších pražských tiskařů, na osobnost Pavla Severína z Kapí Hory. Grafická výzdoba tisků vydaných Pavlem Severínem z Kapí Hory dosáhla vysoké úrovně, srovnatelné se zahraničními ilustracemi. Na tradici a význam kvalitní grafické výzdoby tisků pak navázali jeho následovníci, Jan Severín mladší a Jan Kosořský z Kosoře, jejichž tiskařské produkci zde bude také věnováno nemalé místo. Práce bude zakončena seznamem tisků vydaných od roku 1488 až do roku 1557, včetně stručného popisu dřevořezových ilustrací....
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Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show PrintsTener, John V. 03 August 2017 (has links)
No description available.
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PRINTING PRESS AND BROADSHEET IMAGERY: REPRODUCIBILITY AND PERCEPTION DURING THE EARLY GERMAN EVANGELICAL REFORMATION (1517-1530)Reiter, April Ann 25 June 2011 (has links)
No description available.
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New Zealand Prints 1900-1950: An Unseen HeritageRoss, Gail Macdonald January 2006 (has links)
The vibrant school of printmaking which emerged and flourished in New Zealand between 1900 and 1950 forms the subject of this thesis. It examines the attitudes of the printmakers, many of whom regarded the print as the most democratic of art forms and one that should reflect the realities of everyday life. Their subject matter, contemporary city scenes, people at work and leisure, local landscapes, Maori and indigenous flora and fauna, is analysed and revealed as anticipating by over a decade that of regionalist painters. They are also identified as the first New Zealand artists to draw attention to social and environmental issues. Trained under the British South Kensington art education system, New Zealand printmakers placed great importance on craftsmanship. Although some worked in a realist style others experimented with abstraction and surrealism, placing them among the forefront of New Zealand artists receptive to modern art. Expatriate New Zealand printmakers played significant roles in three major printmaking movements abroad, the Artists' International Alliance, Atelier 17 and the Claude Flight Linocut Movement. The thesis redresses the failure of existing histories of New Zealand art to recognise the existence of a major twentieth-century art movement. It identifies the main factors contributing to the low status of printmaking in New Zealand. Commercial artists rather than those with a fine arts background led the Quoin Club, which initiated a New Zealand school of printmaking in 1916; Gordon Tovey's overthrow of the South Kensington system in 1945 devalued the craftsmanship so important to printmakers; and the rise of modernism, which gave priority to formal values and abstraction, further exacerbated institutional indifference to the print. The adoption of Maori imagery by printmakers resulted in recent art historians retrospectively accusing them of cultural appropriation. Even the few printmakers who attained some recognition were criticised for their involvement in textile and bookplate design and book-illustration. Key artists discussed in the thesis include James Boswell, Stephen Champ, Frederick Coventry, Rona Dyer, Arnold Goodwin, Thomas Gulliver, Trevor Lloyd, Stewart Maclennan, Gilbert Meadows, John L. Moore, E. Mervyn Taylor, Arthur Thompson, Herbert Tornquist, Frank Weitzel, Hilda Wiseman, George Woods, John Buckland Wright and Adele Younghusband. Details of the approximately 3,000 prints created during this period are recorded in a database, and summarised in the Printmakers' Survey included in Volume Two. In addition reproductions of 156 prints are illustrated and documented; while a further 43 prints are reproduced within the text of Volume One.
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Historie a vývoj grafických technik a jejich význam.\nl Tisk z výšky a jejich významní tvůrci. / History and development of the graphical techniques and its importance. Printing from height a its important authors.SEDLÁKOVÁ, Marie January 2015 (has links)
Diploma thesis has an aim to present to students of elementary school graphical methods of relief printing by method of methodological video, for better understanding and imagination of students. The theoretical part occupies with graphic, the fenomena, that accompanies us from prehistoric times. The thesis is going to present method of relief printing, its development and important authors of relief printing. It makes the students familiar with the most important graphic works in history and makes their analysis. It presents the most common subjects and social aspects of graphical production in the final part. The practical part elaborates technology of instructive video and following application for students of various age and its final marking their work. The conclusion of thesis create supplements of the practical part, examples of models and final works.
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La Bretagne dans la gravure sur bois (1850-1950) / Brittany and woodcut printing (1850-1950)Le Stum, Philippe 20 January 2014 (has links)
De toutes les régions de France, la Bretagne est celle qui attira le plus les artistes entre le milieu du XIXe siècle et le milieu du suivant. Si sa présence dans la peinture est connue, il n’en va pas de même dans le domaine de l’estampe. L’objet de cette thèse est de combler cette lacune en analysant sa place, comme thème, chez les graveurs sur bois français et étrangers. L’étude s’appuie sur un corpus fondé sur le dépouillement des fonds publics et privés. Son analyse révèle l’importance de la thématique dans chaque phase de l’évolution de la gravure sur bois occidentale entre 1850 et 1950. Pour chacune sont étudiées les contributions des graveurs les plus représentatifs. L’apparition de la Bretagne dans la gravure professionnelle d’interprétation est retracée, puis précisée sa place dans la gravure sur bois originale entre 1880 et 1900. Les partis opposés des coloristes et des tenants du noir et blanc divisent en deux sections les chapitres suivants. L’étude des premiers met en évidence l’impact des procédés japonais de gravure et d’impression. Elle se poursuit par la résurgence du camaïeu puis le retour au coloriage après impression. L’analyse de la production en noir met en lumière les pôles autour desquels gravitent presque toutes les représentations de la Bretagne : inspiration maritime et thématique rurale. Elle souligne la contribution régionale à la vogue du livre illustré en gravure sur bois dans l’entre-deux-guerres. Enfin, la présentation d’une production militante constitue un épisode de ce panorama d’une production qui, pour être régionale dans son inspiration, n’en constitue pas moins un exemple représentatif de l’histoire d’un art et d’une technique. / Brittany is the region of France which attracted the greatest number of artists between the mid-19th and 20th centuries. The presence of painters is known, but the same cannot be said for the field of etching. The aim of this thesis is to contribute towards filling that gap.The study is based around the creation of a corpus. Its analysis reveals the importance of the theme adopted during each of the main periods of the development of western woodcut printing between 1850 and 1950. The definitions of these themes form the internal dynamic of the thesis.First of all the appearance of Brittany in professional interpretive etching is related. Then its place in the birth of original wood block printing is detailed. The following chapters are devoted to the opposing groups of artists, those who used colour and those who held to the aesthetic of black and white prints. The study of the colourists begins by highlighting the impact of Japanese wood-block techniques. It is followed by the resurgence of camaïeu and then the return to the western tradition of colouring after printing.Analysis of the more technically homogenous black print production focuses attention on the two themes around which almost all representations of Brittany revolve: the sea and the countryside. It underlines the regional contribution to the vogue for books illustrated with woodcut prints during the period between the wars. Finally, the presentation of militantly Breton works marks a specific episode of this panoramic overview of artistic output which, despite its regional origins, symbolises no less a part of the history of the art and technique of wood-block carving.
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Obraz čínsko-japonské války v kultuře jako součást japonského nacionalismu / Image of the Sino-Japanese War in Culture as a Part of the Japanese NationalismDanišová, Kateřina January 2014 (has links)
This thesis deals with the beginnings of the Japanese nationalism. It examines the role of the Sino- Japanese war of 1894-1895 in these beginnings in relation to other national consciousness forming factors. Govermental activities, such as education system and army reforms, and the effort to stress the emperor as a symbol of the Japanese people, and also activities of the intelectual strata, who influenced the society mainly through journalism, were especially prominent among them. It stresses the importance of the period media (newspapers, illustrated magazines, woodcut prints) and early modern theatre to the spread of the national consciousness among masses. It also shows how the way the war was conveyed in the media influenced the view the Japanese had of themselves and of the neighbouring countries. Powered by TCPDF (www.tcpdf.org)
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Johann Friedrich von Uffenbach. Sammler – Stifter – Wissenschaftler / Johann Friedrich von Uffenbach. Collector - Donor - ScientistMeyerhöfer, Dietrich 28 January 2020 (has links)
No description available.
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