Th. Ph. D.--Art History--Denton (Tex.)--North Texas State University, 1982. / Bibliogr. p. 360-367.

This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.

This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.

Because the Dallas Museum of Art has not compiled a catalogue of its graphic collection, the researcher has written a comprehensive catalogue of the museum's prints in conjunction with a history of printmaking from 1400 to 1700. The sources of data include observation of the prints plus catalogue raisonnés of major printmakers, and books and articles on printmaking. The thesis is organized as follows: a history of printmaking, which is divided into three chapters, Woodcut, Engraving, and Etching, and a catalogue which cites the pertinent data on each print. Gaps in the collection and recommendations for future acquisitions are discussed in the preface to the catalogue.

This study was undertaken to help determine by geometric analysis whether the two paintings, one attributed to the fourteenth century Sienese artist, Ugolino da Siena, and the other to the fifteenth century Sienese artist, Sano di Pietro, were painted by these artists.

Over a period of two decades, Raymond D. Nasher, a Dallas-based real estate developer, and his late wife Patsy amassed a collection of significant modern sculptures. For years, pieces from the private collection--numbering over 300 as of 1990--were on display in various museums and civic institutions, and they were installed on a rotating basis at Northpark Center, a Dallas shopping mall developed by Nasher. Since the 1987 Dallas Museum of Art exhibition, the collection has been shown in several major international museums. This study documents the formative period of the collection, the Nashers' collecting and exhibiting philosophies, and four early exhibitions of the sculptures. It includes a chronology of the Nashers and major acquisitions of sculpture.

"...the writer undertook in this studyan evaluation of the seven major art museums of Texas and their contribution to public-school education. Chapter I served as an introduction to the study. Chapter II traced the development of the art museum in American, dating back to the period of colonial settlements in New England. It also presented the history of the art museums in the five key cities of Texas: the Elisabet Ney Museum of Austin, the Dallas Museum of Fine Arts, the Museum of Fine Arts of Houston, the Fort Worth Art Association, the Children's Museum of Forth Worth, the Witte Memorial Museum of San Antonio and the Contemporary Arts Association of Houston. In addition, the general policies and programs of the Texas museums were discussed. Chapter III evaluated the programs of the seven majoy art museums according to the standards set up by the Texas Art Education Association...Chapter IV will present the writer's conclusions and recommendations." -- leaves 35-36.