Thesis (doctoral)--Rheinische Friedrich-Wilhelms-Universität zu Bonn, 1981. / Errata page inserted. Includes bibliographical references (p. 168-176).

Thesis (Ph. D.)--Harvard University, 1998. / Includes bibliographical references (leaves 268-274).

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Indiana University-Purdue University Indianapolis (IUPUI)

The problem of this investigation is determining the artists, places, dates, subjects, and types of frescoes done in nineteenth century England. Through research in nineteenth and twentieth century materials, this information was disclosed. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons fro using fresco, and fresco's relevance to the subjects of the paintings. The differences in the technical aspects of fresco and its adaptations are explored. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons for using fresco, and fresco's relevance to the subjects of the paintings. It is concluded that the fresco revival was a part of the prevalent Romantic mood of the period and a wish to make England an important nation in the art world's eyes. The revival, however, failed. Its fresco scenes crumbled off the walls that supported them.

Submitted in partial fulfilment of the requirements for the Masters Degree in Technology: Fashion Design, Durban University of Technology, 2012. / The purpose of this study was to explore the possibility of creating shop window displays focussing on a South African identity in the Durban region. The impetus for the study stemmed from the design of the Constitutional Court which features elements of South African culture. This study challenges the contemporary notion of presenting window displays using primarily Western influences and proposes the use of fashion imagery and cultural identity currently dominating South Africa. The study argues against corporate fashion stereotypes and champions a representation of an eclectic multi-cultural South African society. In this respect key theories of identity, culture, and design were explored. A qualitative methodology was conducted utilising interview and observation approaches to obtain data. Semi-structured interviews were conducted with twelve local professionals specialising in the fields of art, design, fashion and architecture to obtain their expert opinions. The data was analysed by clustering information into themes to establish the findings. Interview findings revealed that shop window displays should accommodate local imagery appropriate to the South African context. Observing two local production houses, namely Hirt & Carter and Barrows in Durban provided insights for a backdrop creation for the practical component of the study. The practical comprised of producing retail shop installations and a visual catalogue representing findings drawn from the study. The catalogue was used to illustrate the results of investigating a national image and identity that could be intrinsic to window display creation in South African fashion retail shop fronts. / National Research Foundation

Dissertation submitted in partial fulfilment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Durban University of Technology, 2013. / This paper documents and evaluates the use of ceramics as an aesthetic architectural element in Durban from 1914-2012 with special reference to James Hall (1916-2006), Andrew Walford (b.1942) and Jane du Rand (b.1969). These artists were selected because their work demonstrates a wide range of the use of decorative tiles and mosaics as aesthetic elements in Durban architecture over a period of more than fifty years. Reference is made to the historical use of tiles and mosaics as aesthetic architectural elements in Durban from 1914-1955 in order to provide a context to an investigation and evaluation of the contribution of Hall, Walford and du Rand to the use of tiles and mosaics as an aesthetic architectural element in Durban. The paper begins by highlighting the importance of this study, discusses the role of ceramic architectural adornment and defines terminology for the purpose of this research. In addition an explanation of the research methodology used, research questions and literature review is provided. The study is contextualised through an overview of the historical background of the use of ceramics (tiles and mosaics) as an aesthetic element in architecture. The importance of the use of ceramic elements in relation to architecture, as well as the different techniques and methods of production, are highlighted and related to contemporary practice. The overview provides insight into how the use of ceramic elements in the past has influenced the approach of contemporary practice. My contribution to the use of mosaics as an aesthetic architectural element in Durban and my art practice, in the form of an installation titled passage is discussed and evaluated. The paper concludes by noting that the historical use of tiles and mosaics as aesthetic elements in architecture persists in contemporary art practice. However, the methods of tiled mosaic production and tiled mosaic techniques have been revolutionised extensively. It is evident that, the use of ceramics as an aesthetic element in Durban architecture reflects, both a strong European design influence and a distinctive local identity. / Durban University of Technology Postgraduate Development and Support Directorate

Thesis (MBA)--Stellenbosch University, 2011. / Customers expect from a store that displays expensive products to make an effort to decorate the store with atmospheric elements to create a prestige atmosphere. The four stores that the participants visited target upper-class customers and display expensive products. One of the participants mentioned that the atmosphere in Hip Hop remind her of a take-away restaurant. Hip Hop was making no effort to decorate its stores to create a hedonic experience for its customers. They were relying on their well-known brand name to sell their products. In the long run, this strategy will not be effective as the competition gets tougher and more brands enter the market. High-class fashion stores focus more on hedonic customers. Customers do not need to buy expensive clothes as there are many discount stores that could fulfil their clothing needs. In order for high-class fashion stores to attract customers they need to create a hedonic experience for their customers in the store. The customers must want to enter the store and spend time in the store. Atmospheric elements can attract customers to the store and influence the time they spend in the store. It is important that new fashion stores have the right atmospheric design in their stores. New stores cannot rely on a name as this is not well known. The atmospheric design of a store tells customers what they can expect in the store. One of our main findings is that there is a difference between the atmospheric designs in shopping centres. The fashion stores in the V&A Waterfront in Cape Town use atmospherics in their stores to create a prestige atmosphere for their upper-class customers. On the other hand, the atmospheric designs in the fashion stores in Canal Walk, which attracts middle-class customers, had a lower quality and were not regarded to be as prestige as those of the V&A Waterfront stores. The most expensive merchandise was also found in the fashion stores in the V&A Waterfront. Most of the stores in our sample use some atmospheric elements. However, the combination of the atmospheric elements in the stores did not always match. The participants viewed the atmospheric design as a whole and it was important to them that all the atmospheric elements fit together. The participants were noticeably disappointed with a store that did not make use of atmospherics to enhance its customers’ shopping experience. They found the store too plain as the storeowner did not make any effort to decorate the store. When they entered a store that did make use of atmospherics, the participants mentioned that they would like to spend more time in the store.

This thesis examines the effects that the religious changes heralded by the Counter Reformation and the decrees regarding religious imagery and the Eucharist promulgated at the Council of Trent had on the decoration of Venetian churches from the close of the Council in 1563 until the first years of the seventeenth century. Although politically Venice shielded her independence from the power of the Papacy, she nonetheless responded in conformity to the Tridentine decrees and played an important role throughout the Cinquecento as a centre for religious renewal. In turn this had an important impact on the fabric and decoration of the city’s churches, particularly in the last two decades of the Cinquecento. Focusing on four Venetian churches that were the objects of extensive decorative programmes during the late Cinquecento; San Giacomo dall’Orio, Santa Maria dell’Umiltà, the Redentore and San Giorgio Maggiore, this thesis combines archival and visual evidence to reach a deeper understanding of how the decoration of the Venetian church changed in this period. The central tenet of this thesis is that Venice made an important and early contribution towards developing the ‘ideal’ visual response required by the Council of Trent. In the immediate aftermath of the Council of Trent until the end of the century Venice enjoyed a period of important artistic renewal and achievement. This ‘golden age’ emerged in the years following Trent and in a period characterised by ongoing war and ravaging pestilence. Yet far from discouraging creative genius, the contemporary religious and political upheaval appears to have challenged artists and patrons to ever greater achievements. It thus appears that the conditions imposed by the Council of Trent created a framework within which artists could better represent the values of the renewed Catholicism of the late sixteenth century.

published_or_final_version / abstract / Chinese / Master / Master of Philosophy