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This thesis deals with the production of liturgical textiles in five Swedish studios between 1880 and 1930. It is based on a survey of what was delivered to and preserved in the buildings of the Church of Sweden, more than 4,000 recorded objects. Ecclesiastical liturgical textile art in Sweden forms part of an uninterrupted tradition from the Middle Ages. A new era in ecclesiastical textiles began in Sweden in five major studios in Stockholm and Göteborg. Earlier production during the 19th century had become increasingly stereotypical and there was little interest in ecclesiastical art and liturgy in the parishes of the Swedish church. My survey of this extensive material has enabled me to make conclusions about when new textiles were produced and where, as well as when important changes took place. The iconography, symbols, figurative motifs and texts used in the textiles reveal trends in the historical development of the church’s liturgy. It is also possible to see when the different liturgical colours began to come back into use. Differences in the designs of the textiles show which artistic figures had a dominant influence on ecclesiastical liturgical textiles at a certain time. Five sections in chapter IV deal with a few larger special commissions. The first were for two newly-built churches in the early 1910s by two eminent architects who also designed the textiles. The third church was provided with new textiles in 1917 in connection with an extensive restoration. The fourth case concerns a private initiative to acquire new textiles for an old church. Finally, the ecumenical archbishop’s robes were produced for the Archbishop Nathan Söderblom and worn at the ecumenical meeting in 1925. The archbishop had a firm opinion about its iconographic programme. The five colours were launched in practice on the west coast of Sweden during the 1880s and 1890s. The textile artist Agnes Bran­ting introduced them at the Stockholm Exhibition in 1897. Supplementary commissions for white and green textiles were made from the parishes, for both frontals and chasubles at the end of the 1920s. A wealth of different motifs and differences began to appear between the iconography of the various studios in the 20th century. By no means all liturgical textiles were provided with texts, but enough to make it possible to describe a new trend. Many women and a few male artists developed their aesthetic expression working with ecclesiastical textiles during the fifty years covered by this thesis. The work of the professional studios was fundamental for the development of many young women into resolute, modern professional practitioners. What was linked to the ecclesiastical, the sacred, found expression and was described in words such as beautiful, true and dignified. The textiles embodied an intention to enhance the aesthetic values of worship and ecclesiastical space, to add variation and solemnity. This involved a deeper and more widespread use of motifs and symbols, of high-quality material and of craftsmanship. This study has contributed new knowledge about the period, its aesthetics and its theology.

The artist Carolina Falkholt has during the recent years emerged as one of Sweden's most renowned artists, although she has a long background in graffiti and mural painting. During 2013 and in the beginning of 2014, there has been several media storms around her paintings. In the center of the conflict is both the subject, the female genitalia, and the placement, in the public sphere.    This thesis aims to investigate why Carolina Falkholt paints these types of murals, and why people get offended by them. I also study how the media portrays the debate. My study is a discourse analysis of the media discussions around five of Falkholt’s mural paintings. Around the works are two discourses that are in conflict with each other. They are the discourse of Falkholt’s defenders and the discourse of her critics. None of them seem to dominate the other, except locally in some places. Carolina Falkholt’s own way of speaking about her art also forms a separate discourse, as she emphasizes her feminist agenda more than what the defenders do. Critics emphasize the image’s unsuitability in the public environment and defenders emphasize art's aim to generate debate.     Carolina Falkholt’s works are public in two ways. Firstly, they are in the public domain, and secondly they generate mass media attention, placing them in the press publicity. We can see in my theory background that women are structurally deprived space both in the physical public sphere and in the media. Carolina Falkholt breaks this pattern, since she deliberately takes up space in both these spheres.

The purpose of this study is to determine to what extent creative stitchery is used in the art program of the Dallas Independent School District, when it is found to be most valuable, and what limitations it is found to have.

<p> In mid-nineteenth-century Paris those associated with the intellectual and artistic sectors used distinction in dress as a defining characteristic in the creation of their social image and identity. With the growing bourgeois masses due to the vast expansion and modernization of the city, distinction became the way in which one could separate from the crowd to emerge as an individual. This notion grew out of two specific factions: the awareness of dress as an outward reflection of the self, and the newly developed medium of photography as a tool for capturing one&rsquo;s likeness. This thesis will trace the utilization of these concepts by examining Nadar&rsquo;s portraits of Charles Baudelaire, Th&eacute;ophile Gautier, and Sarah Bernhardt, as well as Countess de Castiglione&rsquo;s collaborative portrait work with the photographer Pierre-Louise Pierson. </p><p> Baudelaire and Gautier, both prolific poets and art critics, were some of the first to bring about critical discourse on the distinction of clothing, as well as the importance of inserting modern dress into art. Both men implemented these methods when making their individual choices for representation, with Gautier often presenting himself far outside the sartorial norm. While most women of Parisian society abided by strict moral rules of dressing, Bernhardt and Castiglione instead challenged these norms and used dress to represent themselves as individuals apart from family or a husband. More than solely focusing on everyday dress, this thesis will concentrate on the utilization of distinction in their public image captured through photography.</p>

<p> Feminist artists during the second wave movement wanted to gain the same rights as men in a historically male-dominated art world, a world that was being influenced more and more by modernist ideals. It was during this precise moment that postmodernists helped transform art, in addition to the fields of literature, music, architecture, law, and philosophy. The synthesis between postmodernism and feminism helped art evolve in non-traditional ways. In this thesis, I seek to answer the question: &ldquo;How did postmodernism influence feminist artists from 1970-1982 to create the adaptation of new media?&rdquo; Evidence of this influence is seen in the evolution of new media such as performance, decorative arts, video, photography, femmage, and collage. As I examine the synthesis between postmodernism and feminist art, I will also show evidence of how second wave feminist movement influenced the evolution of postmodernism, and how the mixture of postmodern and feminist ideals influenced these women artists.</p>

Within the archives of the Künstlerverein Malkasten (Paintbox Artists' Union) in Düsseldorf, Germany, is a vast corpus of visual art, posters, programs, and books that illuminate the musical life of this artists' club. The materials reveal that the club not only enjoyed music as entertainment but also depended on it for inspiration in their artwork and as a means of social interaction, not only between members but also between members and the greater Rhineland community, as well. The picture of the society that emerges from these sources is intrinsically connected to music and music-making, informing an understanding of how this highly-regarded institution and brotherhood of artists communed and thrived for over one hundred years. Even prior to the Malkasten's foundation in 1848, the artists that eventually made up its membership from the Düsseldorfer Malerschule and Kunstakademie Düsseldorf had used musical iconography prominently in their works. Musical imagery appears pervasively throughout the Malkasten's artistic catalogue, regardless of subject or style. Its nearly ubiquitous presence showcases musical instruments and performers in a variety of contexts, from symbolic allegories to satirical cartoons. These works reflect that music was part of the artists' overall consciousness and demonstrate the ideological first step into creating interdisciplinary artwork, for which the club became well known. The lied was the primary genre used by the Malkasten, and many of its artists participated in either writing song texts, often specifically for club performance, or creating imagery to accompany those texts. A typology of song books in nineteenth-century Düsseldorf allows for an examination of the sources used by the Malkasten, offering a glimpse into what types of lieder the artists sang together. This visual/musical literature reached its peak in the most sophisticated lied source used by the club – the Düsseldorfer Lieder-Album (1851) – which featured newly-composed songs with accompanying full-page color lithographs designed by Malkasten artists. Musical performances were a principal activity of the Malkasten throughout the late nineteenth and early twentieth centuries, including various types of Liederabends, concerts, tableaux vivants, musico-theatrical productions, and pageants. The club hosted these performances and members actively participated in them. While many artists worked to create posters and programs for the events, others wrote librettos or dialogue. Many of the members also performed in the presentations, often as singers in solo or ensemble roles. The imagery, songs, and performances of the Malkasten provide a detailed portrait of the Malkasten and its culture. The artists' love of music, history, poetry, nature, and the Rhineland all intertwine within these sources; the artwork and the texts reflect their witty sense of humor, ardent patriotism, and sincere fondness for one another. In short, the character and activity of the Malkasten as an organization are represented fully in its musical life. / A Dissertation submitted to the College of Music in partial fulfillment of the Doctor of Philosophy. / Fall Semester 2015. / November 9, 2015. / Düsseldorf, Ethnography, Iconography, Interdisciplinary artwork, Künstler-Verein Malkasten, Lieder / Includes bibliographical references. / Douglass Seaton, Professor Directing Dissertation; Timothy Hoekman, University Representative; Charles E. Brewer, Committee Member; Denise Von Glahn, Committee Member.

This dissertation is a study of the cultural contributions made by the scholars who accompanied Napoleon Bonaparte to Egypt in 1798. The purpose of the expedition was strategic and colonial, so Bonaparte recruited some of France's leading artists, scientists and engineers to accompany the French Army and study Egypt systematically. / In order to facilitate their research, the scholars formed a learned body, the Institute of Egypt. The research conducted by members of the Institute lay the groundwork for the development of Egyptology as a professional field of academic study. The culmination of the savants' work was the multivolume, illustrated Description de l'Egypte, which covered topics including natural history, geography, contemporary Egyptian society and Egyptian antiquities. The Description offered European scholars their first comparatively accurate view of Egypt, especially ancient Egypt. / The work of the French in Egypt also reflected various trends in eighteenth century thought. The savants believed that they were bringing progress and enlightenment to contemporary Egypt in the form of scientific and technical development. Moreover, the Napoleonic scholars, like some of the philosophes, believed that man could rationally, scientifically, and objectively study a society and then distill the information into a single, encyclopedic work. As colonialists, they regarded Egypt as fertile territory for scientific study. Since Europeans knew relatively little about ancient or contemporary Egypt, the French believed that they could claim credit for the rediscovery of a great civilization, and the glory of ancient Egypt would be reflected on Napoleonic France. / Source: Dissertation Abstracts International, Volume: 53-10, Section: A, page: 3644. / Major Professor: Donald D. Horward. / Thesis (Ph.D.)--The Florida State University, 1992.

This thesis deals with the use of Disney's twelve animation principles in relation to Motion Capture. The purpose of the work was to investigate whether animation principles can be applied to finished motion capture animations to surpass the limitations of motion capture  by using animation layers, where each added layer is a new principle. To investigate this, motion capture data was retrieved with various movements from Mixamo, which was then imported into Maya where various animation principles were applied with the help of Maya animation layers. The result of this research will answer the following… Is it possible to surpass the limitations of motion capture by layering disney's animation principles on motion captured animations in Maya with the use of animation layers?

The large-scale frescoes from Neopalatial Crete and contemporary Thera reveal a salient emphasis on the portrayal of textiles. The theme of textiles is realized in the intricate portrayals of patterned clothing, the central depictions of tributary cloth, the iconographic theme involving the unworn flounced skirt, and portrayals of elaborate wall hangings. This investigation focuses on the corpus of wall paintings that specifically highlight the representation of cloth. The primary materials evaluated are the large-scale figural frescoes that appear at the height of Minoan occupation at the sites of Knossos, Agia Triada, and Pseira on Crete, and at the contemporary sites of Akrotiri and Phylakopi in the Cycladic Islands. The material from Crete and that from the Cyclades is considered together, and the comparable textile iconography is identified and defined. The general objective of this study is to examine the significant role that textiles played during the Neopalatial period in the Aegean Bronze Age. The importance of cloth for this period, clearly documented by its artistic portrayal, has largely been overshadowed by investigations that are strictly concerned with Aegean costume or inquiries into textile industry. Investigations into the ritual and artistic use of cloth, irrespective of its role as clothing in the Aegean are rare. Moreover, sweeping investigations that consider the Minoan and Mycenaean paintings in a single homogeneous account often cloud the distinctiveness of the Minoan period. It is argued that the analogous representations from Crete and the Cycladic Islands reveal that textile production in the Neopalatial period was a major art of ritual, and artistic concern. Evidence that common social practices and religious rituals surrounding cloth existed in Crete and the Cyclades is furnished by comparable textile patterns, congruent styles of costume, and analogous ritual use represented in the large-scale fresco paintings. The conclusion is reached that while local affinities exist, there is specific commonality in the iconography of cloth between Crete and the Cyclades. / A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts. / Degree Awarded: Summer Semester, 2006. / Date of Defense: January 16, 2004. / Wall Hangings, Wall Hanging, Fabrics, Fabric, Clothing, Cloth, Textiles, Textile, Murals, Mural, Frescoes, House Of The Ladies, Aegean, Cycladic, Cyclades, Thera, Crete, Neopalatial, Bronze Age, Wall Painting, Fresco, Knossos, Phylakopi, Minoan, Costume Dress, Dressing, Ritual Robing, Rites Of Passage, Initiation, Xeste 3 / Includes bibliographical references. / Daniel J. Pullen, Professor Directing Thesis; Christopher Pfaff, Committee Member; Susan Lee, Committee Member.