A Dissertation Submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts. / This dissertation examines Paul Cezanne's still-lifes and proposes that the interpretation of meaning in these works depends upon the analysis of their stylistic elements. In Chapter 1 it is argued that the relationship between meaning and interpretation in the discipline of Art History is a complex one. An examination of the recent theoretical literature offers valuable insights into the ways in which art historians have assessed this relationship and the ramifications not only for the discipline, but for the Interpretation of Cezanne's still-lifes. The different ways in which scholars have interpreted Cezanne's oeuvre (particularly in relation to formalist approaches) are examined in the overview of the Cezanne literature in Chapter II. It is suggested that the existing body of interpretations in the literature forms an important part of a work's meaning and that therefore, the meaning of Cezanne's still-lifes should not be considered in an historical vacuum. furthermore, it is argued that the formalist interpretation of Cezanne's still-lifes warrants reevaluation, In Chapter III selected still-lifes are analyzed. The traditional art: historical dichotomy, reflected in the Cezanne literature, between 'form' and 'content', is challenged, The genre of still-life is contextualized in relation to Cezanne's other genres to substantiate the notion of a 'drama of style' evident in the still-lifes. It is argued that a stylistic approach to the still-lifes reveals both the importance of style in the interpretation of meaning in the still-lifes and the notion of artistic process evident in these works. / Andrew Chakane 2018

Xerox copy of original. / Includes bibliography. / 3 v ; / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (D. Litt.)--University of Adelaide, 1953

Thesis (M.F.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains 209 p. Includes abstract.

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During the last half of the nineteenth century, a remarkable number of European artists were influenced by Japanese art and culture, a trend which has been labelled "Japonisme." Among the major Post-Impressionist artists, Paul Cezanne (1839-1906) alone has been viewed as untouched by this influence, largely because of the strong three-dimensional quality of his art. This study provides a reassessment of the issue of Cezanne and "Japonisme" by concentrating on the flat, two-dimensional aspect of his art. The development of Cezanne's conceptualized and schematized treatment of the Mont Sainte-Victoire theme is considered both formally and iconographically in relation to the image of Mt. Fuji by the influential Japanese printmaker, Katsushika Hokusai (1760-1849). Illustrating that Cezanne's path toward Modernism in painting may have been influenced by the Japanese print, and particularly the art of Hokusai, this study leads to a more profound understanding of Cezanne's development and the ideographic language of his images of Mont Sainte-Victoire.

The purpose of this creative project was to conduct a study on the usage of perspective in the works of French Artist Paul Cezanne and Chinese Artist Ku, Hung-Chung. By finding the relationships between the two, the student would be able to better his understanding of both Western and Eastern Art.In this project, the student identified and compared the physical and theoretical similarities, as well as the differences, in the use of perspective by Cezanne and Ku.From the result, the student attempted to develop and refine his personal concept of the perspective in his own works.

In 1839 Queen Victoria twice became the focus of a media maelstrom: In April, the publication of what came to be known as the Hastings Correspondence blamed the Queen for having taken part in the perceived persecution of Lady Flora Hastings. In May, Victoria's refusal to allow Sir Robert Peel to replace certain ladies of her bedchamber engineered Lord Melbourne's return as Prime Minister. Both of these events resulted in an outcry, both in opposition to the Queen and in support of her. Many historical works that deal with these events tend to recount them as either trivial anecdotes or as means to criticize Victoria's early years on the throne. However, some recent works have begun to rethink the condemnation of her actions. This paper reassesses Queen Victoria's role in the Hastings Scandal and the Bedchamber Crisis by examining how she was represented in certain London newspapers during these events. Instead of focusing on whether Victoria was right or wrong in pursuing the courses that she did, the emphasis is placed on how both the Tory newspapers, that opposed her actions, and the Whig newspapers, which supported her actions, sought to reduce the appearance of agency on Victoria's part. Papers of both political affiliations made constant reference to Victoria's youth, gender, and inexperience—all factors which also played into developing ideals regarding the roles of both the monarchy and women in the political process. The Hastings Scandal and the Bedchamber Crisis are placed squarely within the midst of these issues. The possibility of a young, unmarried, and female monarch making decisions independent of male political guidance caused unease among newspaper writers grappling with the early nineteenth century's colliding concepts of political reform and cultural ideals. / Graduate / 0578 / 0335 / lfidler@uvic.ca

Thesis (M.A.)--East Tennessee State University, 2003. / Originally issued electronically at http://etd-submit.etsu.edu/etd/theses/available/etd-0607103-161102/unrestricted/mcmillionA071503a.pdf . Includes bibliographical references (leaves 106-111).

Thesis (M.A.)--Indiana University, 2006. / Title from screen (viewed on Apr. 30, 2007) Department of Philosophy, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 110-113)