Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 88-89).

Thesis (Ph. D.)--University of Delaware, 1992. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 660-682).

Thesis (Ph. D.)--Ohio State University, 2006. / Includes color illustrations. Includes bibliography and index. Full text release at OhioLINK's ETD Center delayed at author's request

This dissertation recasts the history of nudity in art as a history of ecology. Art historians have long emphasized that depictions of the nude body make visible social relationships structured by gender, race, and class. I contend that ecological relationships—among human beings, fellow living things, and their environments—lie latent in these same artworks. My argument unfolds in the context of the nineteenth-century United States, a place of profound and lasting change that transformed how the human body was understood and represented. Taking seriously the historical euphemism “the garb of nature,” I look anew at nudity across artistic media. Three chronological chapters expand outward in scale and engage with different aspects of the natural world: I examine an ivory miniature of a white woman’s bare breasts, a wet-collodion negative of unclothed Civil War soldiers bathing outdoors, and an enormous sculptural weathervane on the New York City skyline. In each case, I grapple with the contexts in which these artworks emerged, encompassing enslavement, war, colonialism, hunting, pollution, and industrialization—all practices premised upon social and ecological hierarchy. Yet my analysis reveals that these artworks attest not to hierarchy but to the vital interdependence of people and the natural world. Together, these case studies chart a new approach to nudity in art, attuned to both the social and ecological stakes of representation.

Not available

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2004. / Bibliogr.: f. 95-96 . Document électronique également accessible en format PDF. CaQCU

The Life of Pictures follows Charles Dana Gibson and John Sloan, two illustrators and artists, alongside millions of other Americans who used illustrated media to situate themselves within a radically and rapidly modernizing culture at the turn of the 20th century. This was a time when new popular and commercial media forms like magazine illustration and advertisements were displacing older markers of cultural authority – and ordinary people looked to these new forms to reimagine who they were and what they could be. In this context, The Life of Pictures argues that Sloan and Gibson, together with thousands of other illustrators, helped to define a popular visual culture that was embraced by the rising new middle class – one which projected different “modern” ways of claiming social place, navigating relationships across genders, and more broadly, interacting with the world. The illustrators’ images implied a more mutable, aspirational, and hidden class order wherein middle-class people could be less concerned with policing their class’s cultural boundaries, acting to simultaneously normalize, valorize, generalize, and obscure the fundamental social and economic uncertainty that middle-class Americans experienced. By drawing from diaries and biographies as well as scrapbooks and personal albums from across the nation, The Life of Pictures examines the relationship between a cultural change, the people who shaped it, and the people who lived it.

This thesis examines the theme of commerce in four magazines of literature and the arts, all published in New York between 1915 and 1922. The magazines are The Seven Arts (1916-1917), 291 (1915-1916), The Soil (1916-1917), and The Pagan (1916-1922). The division between art and commerce is addressed in the text of all four, in a variety of different ways, and the results of that supposed division are explored for each magazine. In addition ‘commerce’ is also used in this thesis in the sense of conversation or communication, and is used as a way to describe them in the body of their immediate cultural environment. In the case of The Seven Arts, as discussed in Chapter 1, the theme of commerce with the past, present, and future is examined: the way that the magazine incorporates the European classical past and rejects the more recent intellectual past; the way it examines the industrial present, and the projected future of American arts and letters. In the case of The Soil and 291 (the subjects of Chapters 2 and 3) there is extensive commerce between them in the sense of intercommunication, a rival dialogic demonstrating both ideological and economic rivalry. These two chapters comprise an extensive examination of the relationship between the magazines, and shows how much of this involves commerce in the financial sense. The fourth magazine, The Pagan, is concerned with a different sense of commerce, in the form of its rejection of the American capitalist system, and is critically examined here for the first time. The introduction is a survey of examples from the whole field of American periodicals of the time, particularly those immediately relevant to the magazines described here, and acts to delineate the field of scholarship and also to justify the particular approach used. The conclusion provides a summary of the foregoing chapters, and also suggests ways in which each magazine approaches the dissemination, or ‘sale’ of the idea of the new.

This diploma thesis focuses on the conceptual expressions, that reflect the landscape. This thesis is also trying to imply the possible genesis of these artistic approaches. After the general definitions of terms and introduction, the thesis examines the various topics, which was related to the landscape and it's anti-mimetic visual representation since the late sixties. Another part of the work focuses on Milos Šejn, an artist with a very specific, physical relationship to nature and at the same time a former head of The Studio of Conceptual art of the Prague Academy of Fine Arts, where many of his students were somehow related to nature. I chose four artists, who passed on Šejn's studio and on the basis of their work and available documents, I will try to show, how this new generation have reflected the landscape. If they were inspired by czech artists or by foreign examples, that were not available in the Czech Republic for a long time.

Not available / text