This thesis addresses the overlooked contribution of female graduates of the Birmingham Municipal School of Art to the Arts and Crafts movement, during the period of 1880 to 1930. Despite the special status which the Birmingham School enjoyed in its time, Birmingham’s Arts and Crafts movement as a whole has been relatively little studied. The role of women artists within this regional phenomenon has been even further neglected. Employing an object-led approach, this thesis uses artworks as the starting point and main vectors for the exploration of issues tied to materiality, technique, collaboration, authorship, politics, religion, regionalism and gender. The work of Georgie Gaskin (1866-1934), Celia Levetus (1874-1936), Kate Bunce (1856-1927), Myra Bunce (1854-1919), Florence Camm (1874-1960), Margaret A. Rope (1882-1953), and Mary Newill (1860-1947) will be studied in detail. It will be argued that these women artists were integral to the renewal of book-illustration, the revival of the artistic technique of painting in tempera, stained glass making and embroidery. A web of interactions crucial to their professional success will be traced based on geographical proximity, shared workspaces, and social connections. Craftswomen’s role as educators will also be investigated, revealing them as shapers and not merely followers or consumers of the movement. Informed in particular by the theoretical writings of the philosophers Arthur C. Danto, Jacques Rancière and feminist art historian Griselda Pollock, this thesis will offer a valuable update to a field largely untouched by current academic debates and saturated with survey publications. Combined with extensive archival research and the close inspection of artworks, this study aims to go beyond the additive approach of reinsertion. It seeks to provide a critical discussion of the materialisations of women’s participation in the formation of culture.

Due to the influence of the Greek-speaking immigrants who flocked into the city of Rome over the course of the 7th and 8th centuries, there was an explosion of interest in the cults of saints and their relics, one manifestation of which was the efflorescence in the depiction of saints' lives on the church walls. Five of these cycles survive--albeit in various stages of preservation--and portray the martyrdoms of Quiricus and Julitta, Erasmus, the Forty Martyrs of Sebaste, Callixtus, and Paul and Anastasius. As the largest surviving body of early hagiographical cycles, the paintings serve as the standard of comparison for later works, but they have yet to be fully studied in the art historical literature. The aim of this dissertation is to help correct this oversight, and to examine the cycles, in the context of their cultural and architectural settings, in order to come to an understanding of how early hagiographical cycles functioned. The dissertation begins with an examination of the evidence for pre-8th century cycles, Biblical and non-Biblical, extant and non-extant, produced in any medium in Byzantium or the West. The aim is to discover patterns, either in the make-up of the cycles, or the contexts for their use. The paintings in Rome are then carefully analysed, both in terms of their content and archaeological context, in combination with the surviving hagiographical, liturgical, and historical texts. The conclusion reached is that non-Biblical hagiographical cycles first gained popularity in the East, where they were most commonly found decorating either the tombs of saints, or their reliquary shrines. Their appearance in Rome can be closely linked to the influence of the Greek-speaking immigrants, to the cults of saints and relics that they promulgated, and to the special veneration accorded the non-Biblical saint by members of the lay population. The cycles most commonly decorate chapels, or chapel-like spaces, that are located in diaconiae, the charitable institutions founded in Rome at the end of the 7th century, and whose administration was largely the responsibility of the lay community. Furthermore, as several of the cycles seem to decorate private chapels, perhaps provided to the wealthy laity in return for their donations to the church, they emerge as the early ancestors of the works found in the private chapels, decorated for rich benefactors, which proliferate in the late Middle Ages. / Graduate

This work is an exploration of design possibilities within draping based on a knot. This to show alternative possibilities and expressions through the knot in construction of clothing. The knot serves as a draping tool, has a function in each garment and is also decorative. The result is performed in 7 outfits based on experiments draped on a mannequin or my own body. The experiments are developed mainly through the branching strategy (Jones 1992)achieved with draping sessions in different materials, sizes and placements of the knot. Having the knot as starting point allows alternative expressions in construction of well known garments. It is also suggesting a method of closing a piece of clothing using the garment itself which could be developed further in 2D pattern construction.

University of Macau / Faculty of Social Sciences / Department of Communication

This collection is an investigation of how decorative techniques and non-decorative text can create a dialogue in garments, with the body as a billboard. The work is based on two different aspects. The first one deals with the question of how people look at embellishments, and the second is the message aspect. The investigation wants to find out how we can communicate with the human body as a billboard and the topic of the communication is an idea about perfection. The writer’s dyslexia experiences are used as a recurs and gives the topic a new dimension. The work explores new ways to deal with embellishments, techniques and messages. It shows that the statement T-shirt is not the only perfect garment to decorate and that garments can communicate a message in more ways than with a flat print.

A frame can be understood to act as something both complementary and even intrinsic to the work it houses. But the frame also acts as more than just a physical object. It serves as a guiding principle, perhaps even a controlling device, in the sense that it provides a context for the work as well as informing the way in which a work is read. Acting with the image it surrounds, it links the artwork to the surrounding space as well as the viewer. In this study, I explore these various functions and effects by providing an overview of framing devices that have been used by artists in the West as well as referring to guiding principles that some museums in South Africa have used when making choices about the ways in which they frame works in their collections. This examination provides a context for my paintings. Based on photographs of the walls of various small galleries in the Eastern Cape, my works take as their subject the notion of the ‘frame’ as both a physical object and the marker of a historically contextualized viewpoint.

No description available.

En esta investigación se plantea los elementos del visual merchandising interno en relación a la intención de compra en tiendas por departamento en la categoría de ropa para niños, puesto que en los últimos años esta técnica ha ido cambiando a través del tiempo generando nuevas experiencias a los consumidores. Esta investigación busca evaluar las variables del visual merchandising interno de este punto de venta en esa categoría con la finalidad de determinar si presentaban una relación con la intención de compra o no. La metodología de investigación expuesta es correlacional. El estudio estuvo divido en dos etapas, la primera con enfoque cualitativo donde se presenta los resultados de las entrevistas a profundidad al público objetivo primario padres de familia y al público objetivo secundario a los expertos en el tema. En segundo enfoque es cuantitativo donde se desarrolla una encuesta y se corrobora con lo investigado anteriormente. El resultado de la investigación muestra que todas las variables del visual merchandising interno presenta una correlación con la intención de compra. Sin embargo, cuatro de estas variables iluminación, color, presentación de productos y decoración presentan una correlación media. Mientras que, el diseño de tienda presenta una correlación débil por lo cual no se podría concluir con certeza cuál es la correlación real entre esta variable. / In this research, the elements of visual internal merchandising are proposed in relation to the intention to buy in department stores in the category of children's clothing, since in recent years this technique has been changing over time generating new experiences for consumers. This research seeks to evaluate the internal visual merchandising variables of this point of sale in that category in order to determine if they had a relationship with the intention of purchase or not. The research methodology presented is correlational. The study was divided into two stages, the first with a qualitative approach where the results of the in-depth interviews are presented to the primary target audience, parents and the secondary target audience to experts in the field. In the second approach, it is quantitative where a survey is developed and corroborated with what was previously investigated. The result of the investigation shows that all the variables of the visual internal merchandising have a correlation with the intention of purchase. However, four of these variables lighting, color, product presentation and decoration have a medium correlation. Meanwhile, the store design has a weak correlation, so it cannot be concluded with certainty what the real correlation between this variable is. / Trabajo de investigación

No description available.

No description available.