The art on the Berlin Wall has been looked at often for its social and political meaning. Instead, I intend to look at the artwork and text which appeared on the Berlin Wall as art. In this paper I will discuss the formal aspects of the art on the Berlin Wall as well as its import as an example of public art and as a forum created through visual representation.

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This thesis will examine the relationship between art, nationalism and identity as it appears in the context of the 1967 Montreal Universal Exposition. "Expo 67" saw a confrontation between Canadian and Quebecois expressions of nationalism, and we will concentrate on this aspect as it appears through the artistic representations in the different national pavilions. / We will also look into the artworks presented by young Quebecois artists in the more marginal "Youth Pavilion" situated on Ile Sainte-Helene, and will explain how this new generation of artists was able to take advantage of the particular context of the Universal Exhibition in order to implement its own concept of national identity, an identity closely related to popular culture, and thus very different from the image projected by the Quebecois elite of the time.

The purpose of this study is to explore the South Korean art education system in the context of history, culture and politics. This thesis provides further explanation on how history has impacted the South Korean art education system and affects current curriculum, theories and practices. Four highly qualified educators and professors from South Korea were interviewed to collect date relating to current practices in South Korean art education. The study focuses on Korean history, which affected the education policies, social perspective, art education theories and curriculum. This study also highlights the relationship of western art education theories and the traditional Korean theories. Understanding culture through history and policies can provide in-depth perspective on why and how South Korean art education has evolved to what it is today. This information may assist art teachers as they modify lessons to fit the needs of students who are immigrating from South Korea.

This work is focused on a woman in relation with practical and theoretical art and her social role. All three areas mutually affect each other and therefore should not be neglected. First chapter is focused on the term of art where there are different opinions. Second, the most comprehensive chapter, is a chronological overview of art history, theory and social life. Fully developed pluralism of art styles in the 20th Century presents only a number of well known authors of this topic. One of the most important chapters is also art of feminism. In the third, last of the chapters, I present my view resulting from research of the issue. Based on this research, I have created series of pictures that are included within this work.

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Orientador: Lucia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T11:30:29Z (GMT). No. of bitstreams: 1 Silva_JoseOtavioMottaPompeue_M.pdf: 3495232 bytes, checksum: 8c2abb18d675dd1d926f211cb92d216e (MD5) Previous issue date: 2006 / Resumo: O objetivo desta pesquisa foi investigar os primeiros anos (de 1946 a 1957) do ateliê de pintura - localizado no hospital psiquiátrico do Engenho de Dentro, no Rio de Janeiro, Brasil - do ponto de vista dos artistas plásticos envolvidos, bem como a sua repercussão no campo da arte. Os dados foram coletados por meio de entrevistas com pessoas que participaram do início deste ateliê, análise de gravações em vídeo do acervo do Museu de Imagens do Inconsciente, revisão bibliográfica, incluindo consulta a jornais e revistas da época para reconstruir um panorama histórico sobre o ateliê de pintura. A literatura já mostrou como a psiquiatra Nise da Silveira, uma das mais importantes personalidades femininas do século passado no Brasil, associou-se ao jovem artista Almir Mavignier para criar um ateliê que usava a arte como recurso terapêutica no tratamento de um grupo de internos do hospital psiquiátrico. O presente estudo buscou reconstituir partes ignoradas desta história: como os internos foram convidados a freqüentar o ateliê, a atuação de Mavignier no desenvolvimento das atividades de arte, como se deu a confluência de outros artistas ao Engenho de Dentro, instigados pela produção plástica dos pacientes psiquiátricos e a organização de exposições em espaços culturais bem como em eventos de saúde mental. A produção plástica realizada neste ateliê, que deu origem ao Museu de Imagens do Inconsciente, ganhou notoriedade entre os críticos de arte da época, sendo exposta em importantes museus, como o Museu de Arte Moderna de São Paulo. Este estudo buscou mostrar os processos por meio dos quais os críticos tiveram contato com o trabalho. As obras do Museu de Imagens do Inconsciente foram reconhecidas internacionalmente por personalidades como C. G. Jung e Albert Camus. A produção plástica realizada neste ateliê também teve ressonância em artistas contemporâneos como Francisco Brennand, Ivan Serpa e Abraham Palatnik, que visitaram este ateliê. O estudo sugere que o fato de um artista plástico desenvolver os trabalhos no ateliê no contexto psiquiátrico representa um diferencial nos resultados. Concluímos que este ateliê de pintura faz parte do mosaico da história da arte no Brasil e que seu estudo mais sistemático nas diversas fases pode trazer contribuições para reflexões interdisciplinares nos campos da arte, saúde mental, e educação / Abstract: This study aimed to investigate the early years (from 1946 to 1957) of the art studio of the Engenho de Dentro Psychiatric Hospital in Rio de Janeiro, Brazil, from the point of view of the artists involved in the project, as well as its repercussions in the art world in Rio and São Paulo. Data was collected through interviews with participants who worked during the first years of the studio, analysis of video recordings from files owned by the Museu de Imagens do Inconsciente, and review of the literature, including research into articles published in newspapers and magazines of the period, all of which helped to reconstruct a historical ambience for this painting studio. Publications have shown how Nise da Silveira, psychiatrist, one of the most important Brazilian female figures of the last century, became associated with Almir Mavignier, visual artist, who together created the studio where art was to be used as a therapeutic resource for treating a group of patients at the psychiatric facility. The present study attempted to reconstruct unknown parts of this story: how eleven patients were chosen and invited to go to the studio, Mavignier's way of proposing and organizing art activities, how other visual artists began to flock to the Engenho de Dentro instigated by the artistic production of the psychiatric patients, and the organization of exhibits in culture centers, as well as mental health conferences. The visual arts products that came out of this studio, which gave way to the renowned Museu de Imagens do Inconsciente, began to intrigue art critics, and were exhibited in major museums, such as the Museum of Modem Art in São Paulo. This study aimed to show the processes whereby the critics came into contact with the work of psychiatric patients and their role in divulging these images." The production of the Museu de Imagens do Inconsciente was recognized internationally by people such as C. G. Jung and Albert Camus. There was also significant response from contemporary Brazilian artists such as Francisco Brennand, Ivan Serpa and Abraham Palatnik, all of whom visited the studio. This study suggests that the fact that a visual artist headed the work done at the studio in the psychiatric environment affected the results in important ways. We conclude that this painting studio is part of the mosaic of Brazilian art history and that a thorough study of the various phases in the history of the studio will bring important contributions to interdisciplinary thinking in the fields of art, mental health and education / Mestrado / Mestre em Artes

This dissertation considers how the artistic output of Michelangelo Buonarroti (1475-1564) was related to his poetic development and associations with different communities in Florence and Rome. The author of more than 300 poems, Michelangelo was arguably the most prolific artist-poet of the Renaissance. Still, no study has scrutinized the dynamic relationship between his work across media in relation to contemporary shifts in Italian literary culture. Centered on the decades surrounding Michelangelo's permanent move to the Eternal City in 1534, this dissertation shows how he used his creative production to achieve stability in an era buffeted by war and political upheaval. The fortunes of Florence and Rome were inextricably bound, and this dissertation uses surviving visual and written evidence to reconstruct Michelangelo's links to dense intellectual and homosocial networks in these cities. Michelangelo wrote poems to build social ties at a time when the status of artists was in great flux, and this dissertation demonstrates why his poetry, drawing, painting, sculpture, and architecture cannot be and would not have been understood apart from one another.

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