Thesis (Ph. D.)--University of Oklahoma, 1995. / Includes bibliographical references.

Thesis (Ph. D.)--University of Minnesota, 1969. / Includes bibliographical references (leaves 175-188).

Thesis (M.A.)--University of North Texas, May, 2009. / Title from title page display. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1973. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Wisconsin--Madison, 1937. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.F.A.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains v, 27 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 25).

Not available / text

The renewed interest in representational figure painting that occurred in the 1960s and 1970s caused artists, art historians, and critics to consider whether or not this contemporary work belonged to the abstract, modernist direction painting had taken in the 20th century. This paper considered the problem as it was reflected in the careers of contemporary figure painters Philip Pearlstein, Jack Beal, and Alfred Leslie. The opinions of critics and historians and the views of the artists themselves were researched. The critics reached the consensus that all three artists' works were a logical extension of the modernist tradition in painting. Pearlstein concurred. He felt strongly that subject matter was irrelevant if the artist's attitude toward it was modernist in sensibility. Beal and Leslie found that abstract modern art was of little interest to them and concerned themselves with figure painting as a narrative genre allowing personal expression.The author also used this issue as a framework for the evaluation of her own series of three representational oil paintings of human figures wrapped in fabric. After describing the paintings, she concluded that they did reveal aspects of the artists' and critics' criteria of modernism (i.e. evenness of detail, large scale, and aggressive imagery) that should be pushed further in future work.

The primary objective of this creative project was to make my artwork more appealing to a mature audience. I would use familiar imagery that I had created from characters that were initially developed for children. These characters are now not only entertaining, but also have been enhanced through the use of engaging symbolic narrative.The secondary objective was to combine my knowledge of drawing, painting and sculpture based on changes in my recent artwork. These changes were brought about through investigating contemporary artist while studying at Ball State University. The body of work includes an underlying theme: "A Journey Though life," which features Quest the foolish dog, derived from the fool card in a tarot card deck. / Department of Art

Binder's title on spine: Avant-garde, technology and the creation of an American art. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1990. / Includes bibliographical references. / Microfiche. / viii, 281 leaves, bound ill. 29 cm