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Didier M. Perdu, Alexander H. Levis. / Cover title. "To appear in Proc. 1989 Symposium on C2 research, National Defense University, Washington, D.C., June, 1989." / Includes bibliographical references. / Support provided in part by the THOMSON-CSF, CIMSA-SINTRA Division, Boulogne-Billancourt, France. Support provided in part by the Basic Research Group of the Joint Directors of Laboratories through the Office of Naval Research. N00014-85-K-0782

In the arc of the years 1890 to 1910, British Quakers wrestled almost continually and inconclusively over the question of the Society of Friends' right relationship to the State, to the Empire, to politics, and to government. Conflicting pressures toward respectability and radicalism repeatedly tested the Society's loyalties to the Imperial nation and to its heritage of Dissent. It is in this period of what came to be known as the 'Quaker Renaissance' that I have located the emergence of what I call 'Friendly patriotism' - a complex set of attitudes by which public - spirited Quakers attempted to straddle multiple identities. Radical Dissenter and Evangelical Nonconformist; Christian Prophet and Subject of Empire - the 'Friendly patriot' of the period struggled to be true to sometimes wildly divergent traditions and impulses in his desire to embody an ideal of 'Christian citizenship'. No longer a 'Peculiar People', no longer relegated to a social or economic periphery, Quakers had been self-consciously integrating themselves into the mainstream of British life with enviable speed and success. At the close of the nineteenth century, the Society of Friends developed an acute sense of a special Quaker mission to improve the public culture of the day. What were perceived as the Society's unique spiritual and ethical testimonies were to become the essential ingredients of a national and international regeneration. The health of the Emprie rested, in part, with the capacity of civic-minded Friends to commit themselves to its care. Quakerism began to view itself not simply as being integrated into British public life, but integral to its further development. The welfare of the State became intimately linked to the effectiveness of Quaker participation in its political institutions. In this thesis, I have chosen to focus upon three of the most vivid expressions of the social and poltiical feeling within the Society of Friends which I have called 'Friendly patriotism'. The Quaker response to the Nonconformist campaign against the 1902 Education Act, the Quaker approach to international relations within the late nineteenth- and early twentieth-century European peace movement, and the Quaker crusade on behalf of Anglo-German friendship before the First World War revealed the Society's eagerness to interpret and re-interpret its extraordinary heritage of pacificsm and social responsibility in the light of the requirements of the new century. The outward turning of the Evangelical spirit, the firm conviction of Quakerism's unique message for both the churches and the governments of the world, and the profund belief in the Society of Friends' responsibility for the spiritual well-being of the Empire are reflected in each of these dimensions of the Society's life during the period. This work attempts to lift Quaker historiography out of the inevitable parochialism of 'in-house' denominational scholarship in which it has long been mired, and place a critical moment in the history of the Society of Friends within the context of a broader intellectual and cultural framework.

As a background figure in the Pre-Raphaelite movement, William Bell Scott suffers from an unattractive reputation largely because of attitudes expressed in his Autobiographical Notes. Chapter One of this thesis examines his life and work, but although a chronological approach is used, it is Scott's wide range of activities and friends which is given prominence. In Chapter Two, Scott's Autobiographical Notes is considered. Scott's lifelong interest in journal writing is traced as much as is possible, using manuscript material in the Penkill Papers at the University of British Columbia. The chapter then covers the actual editing of the Notes by William Minto, making the point that even before his book was published Scott's potential readers were prejudging the work. Manuscripts in the Penkill Collection provide the Material for these disclosures. The three parts of the third Chapter are concerned with the shaping of Scott's reputation through prejudice and hearsay. The "Rossetti Legend," as it existed while Scott was writing his Notes and until the time of their publication, occupies the first part of the chapter. Next, the controversy which developed after his book met public view is examined. Finally, Scott's reputation is traced over the eighty years since the publication of his autobiography. The final chapter opens with a survey of Scott's relationship with Dante Gabriel Rossetti. Most of the attacks made on Scott's Notes were prompted by his treatment of Rossetti. The survey suggests that Scott was both as friendly and as useful to Rossetti as he claims to have been. The second and longer part of the chapter deals with charges made against Scott by William Michael Rossetti in the Memoir volume of his Family Letters. Information in the Penkill Papers proves on one hand that Scott did not fabricate anecdotes, and that he kept back much information which would have been of interest. On the other hand, this material makes it obvious that William Michael Rossetti, the authority of whose book rests on his filial relationship, did not tell the entire truth about his brother. Scott's Autobiographical Notes, then, should be seriously re-examined as a reference work on Rossetti and the Pre-Raphaelites. / Arts, Faculty of / English, Department of / Graduate

In the late summer of 1888, Vincent van Gogh undertakes to paint a number of canvases intended to decorate the Yellow House, his rented accomodation in Aries. Between mid August 1888,when this project is initiated in anticipation of sharin the Yellow House with Paul Gauguin, and October 23 or 24, 1888, when Gauguin arrives in Aries from Pont Aven, seventeen size 30 canvases for this decoration are painted. In describing two of these canvases to Theo van Gogh, Vincent expli-citely states that much of the meaning of his subject matter is to be conveyed by the use of suggestive or expressive colour. Several other times during the period in which the decoration is Vincent's major concern, a reference is made in the letters to Theo, to a concern with exploring the suggestive and expressive possibilities of colour. This thesis examines the nature of Vincent's concept of suggestive colour and it's role in the decoration canvases for the Yellow House As neither aspect of this topic have been examined in the van Gogh literature, this thesis is divided into two parts. In Part One, the concern with suggestive colour is shown to have it's roots in Nuenen in 1884 and 1885 where Vincent was introduced to several art texts that attributed the impact cfDelacroix' paintings to his understanding of the colour laws, in particular the various effects achieved through the juxtaposition or admixture of complementary colours. An analysis of Vincent's writings at this time shows that he gives a symbolic significance to his use of complementary admixtures and uses such colours to convey a particular aspect of his subject matter. While Vincent's palette and technique change radically in Paris and Aries due to Vincent's contact with impressionism and neoimpressionism and the exaggerated colour effects of the Japanese print, the re-emergence of a concern with the suggestive properties of colour which is announced in the early summer of 18 88, is based to a large extent on the significance given to complementary relationships formed in , s-Nuenen. An analysis of the colour structures in several canvases executed in July and early August of 1888, in light of the special role given to complementary relationships, shows that Vincent intended his use of complementary colours to convey much of the meaning of his images. Part Two examines the decoration canvases for the Yellow House. A study of Vincent's letters reveals the Yellow House as an essential part of Vincent's vision of a studio in the south that would give asylum and refuge to artists in need. This studio was to provide for artists of the present and the future, as Vincent sees his own role as a painter as a link in a chain of artists working with colour. By establishing a studio that is to remove the threat of poverty and hardship from artistic life Vincent hoped to create a stable and serene environment, enabling artists to work productively/ in turn effecting an artistic renaissance and a new art of colour. Examined individually within this - context several of the decoration canvases are shown to refer to ijhi.s vision, suggesting a thematic link for the series as a whole. Suggestive colour continues as a major concern during the period in which the decoration canvases are painted. Vincent sees complementary harmonies and contrasts as able to convey "l'idees poetiques" and uses such colour relationships in several of the canvases of the series to convey important aspects of meaning. The decoration for the Yellow House thus emerges as a crystallization of Vincent's vision of an association of artists working towards a renaissance, and as a major effort to formulate an expressive art in the summer and fall of 1888. Both aspects establish the series as an important development in the evolution of Vincent's art and theory. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This thesis discusses the stylistic development of Lionel LeMoine FitzGerald (1890-1956) as seen in his dated oil paintings. Chapter I outlines FitzGerald's formative years (1890-1919). It attempts to explain how his love of the prairies and interest in art developed. It suggests the dominant influences in his study of art. It includes a stylistic discussion of FitzGerald's earliest works, including his well known, Late Fall, Manitoba (1918). Chapter II attempts to explain why FitzGerald suddenly lightened and brightened his palette. It explores the sources which may have influenced the development of FitzGerald's impressionistic style (1920-October 1921) and it provides a stylistic analysis of two of his impressionistic works, Summer East Kildonan (1920) and Summer Afternoon, The Prairie (1921). Chapter llldiscusses the importance of FitzGerald's first trip to New York, his study at the Art Students' League (December 1921 - May 1922) and his study of the works of European masters at the Metropolitan Museum. It explores the influence his two art instructors, Boardman Robinson and Kenneth Miller may have had on his work. It also suggests the importance of the works of Cezanne to FitzGerald's development. Chapter IV discusses the new directions FitzGerald pursued upon his return from New York. It reveals that FitzGerald's new style of painting, as seen in Potato Patch, Snowflake (1925) was fairly dependent on the external influences he had seen while in New York. This chapter also discusses the importance of FitzGerald's appointment as instructor for the Winnipeg School of Art, to his development of a new more studied style, as seen in Williamson's Garage (1927). Chapter V explores the influences of his second trip to the East (June 1 -July 1, 1930) on his artistic development, through revealing statements drawn from FitzGerald's Diary. Chapter VI reveals FitzGerald's striving towards more personal expressions during the thirties and forties, as seen in three major works from this period, Doc Snider's House (1931), Jar (1938), and Still Life: Two Apples (1940). Chapter VII discusses FitzGerald's gradual move towards abstraction. Suggestions of this direction, are already noted in From an Upstairs Window, Winter (1948). It includes a stylistic analysis of two abstract works, Composition No. 1 (c. 1950-51) and Abstract: Green and Gold (1954). The last major oil, Hat (1955), is discussed in terms of a final statement made by the artist. An attempt is made to determine the essential characteristics of FitzGerald's paintings, which enable them to transcend their regional boundaries and speak to all of Canada. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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