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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
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.
Search results
Showing 1 to 7 of 7 (0.009 seconds)| 1 |
The Bacchic paintings of Peter Paul RubensDavis, Lucy January 2003 (has links)
No description available.
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Correspondences : ReneÌ Magritte's dialogue with art and traditionAllmer, Patricia M. January 2004 (has links)
No description available.
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Rubens and Seneca : Rubens' picture The four philosophers : the influence of Justus Lipsius and his circle on the painterIngrams, R. January 1967 (has links)
No description available.
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David III Ryckaert : a seventeenth-century Flemish painterHaute, Bernadette van 11 1900 (has links)
This thesis in two volumes is a study of the paintings of David ill Ryckaert (1612-
1661 ). Ryckaert grew up in a family of artists, and painted within a close community
of fellow artists. According to several twentieth-century critics, Ryckaert was no
more than a minor imitator of other Flemish painters. Underlying such relegation of
Ryckaert is an uncritical and distinctly Modernist glorification of originality, or
merely novelty. The chief argument of this thesis is that a careful reconstruction of
the socio-cultural circumstances ofRyckaert's work calls into question the destructive
employment of originality as a criterion of artistic greatness. Much of the vocabulary
of Flemish art of the time was established. Artists thus proved their excellence both
to fellow painters and a public fully conversant with the artistic traditions of subject
and style, if such pictorial conventions were notably refmed or treated with a
remarkable grace. Embracing the criteria of personal style and the beauty of the work,
this environment is clearly averse to the blank veneration of new or original art.
I argue that the term originality is itself dangerous therefore and that to neglect
Ryckaert's work as that of a minor imitator is invalid and unhelpful.
A careful examination of Ryckaert's known oeuvre reveals that his work is
distinguished by a fine modelling, harmonious composition and a warm palette with
colourful highlights. Although he relied on an established iconographic repertory, he
maintained creative variation, thereby ensuring a steady demand. Ryckaert's imitation
of other artists' work requires us to adjust twentieth-century criteria which tend to be
pejorative of those who borrow from fellow artists. In fact Ryckaert could be said to
have refmed his individuality as a painter through the testing creative encounter with
and imitation of other artists. / Art / D.Litt. et Phil. (History of Art)
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| 5 |
David III Ryckaert : a seventeenth-century Flemish painterHaute, Bernadette van 11 1900 (has links)
This thesis in two volumes is a study of the paintings of David ill Ryckaert (1612-
1661 ). Ryckaert grew up in a family of artists, and painted within a close community
of fellow artists. According to several twentieth-century critics, Ryckaert was no
more than a minor imitator of other Flemish painters. Underlying such relegation of
Ryckaert is an uncritical and distinctly Modernist glorification of originality, or
merely novelty. The chief argument of this thesis is that a careful reconstruction of
the socio-cultural circumstances ofRyckaert's work calls into question the destructive
employment of originality as a criterion of artistic greatness. Much of the vocabulary
of Flemish art of the time was established. Artists thus proved their excellence both
to fellow painters and a public fully conversant with the artistic traditions of subject
and style, if such pictorial conventions were notably refmed or treated with a
remarkable grace. Embracing the criteria of personal style and the beauty of the work,
this environment is clearly averse to the blank veneration of new or original art.
I argue that the term originality is itself dangerous therefore and that to neglect
Ryckaert's work as that of a minor imitator is invalid and unhelpful.
A careful examination of Ryckaert's known oeuvre reveals that his work is
distinguished by a fine modelling, harmonious composition and a warm palette with
colourful highlights. Although he relied on an established iconographic repertory, he
maintained creative variation, thereby ensuring a steady demand. Ryckaert's imitation
of other artists' work requires us to adjust twentieth-century criteria which tend to be
pejorative of those who borrow from fellow artists. In fact Ryckaert could be said to
have refmed his individuality as a painter through the testing creative encounter with
and imitation of other artists. / Art / D.Litt. et Phil. (History of Art)
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The battle of changing times : picaresque parodies from Bruegel to GroszCornew, Clive 11 1900 (has links)
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on
visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction
between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of
human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships
between the above themes are chronologically traced in various disguises in pictures by representative
picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and
Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the
high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes
at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts & Musicology / Thesis (D.Litt. et Phil.)
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| 7 |
The battle of changing times : picaresque parodies from Bruegel to GroszCornew, Clive 11 1900 (has links)
This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on
visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction
between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of
human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships
between the above themes are chronologically traced in various disguises in pictures by representative
picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and
Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the
high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes
at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.)
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